Thursday, June 29, 2017

I've been Manitoba Cooperator-ed!

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My thanks to Shannon Vanraes for the interview!

I was also on CBC Information Radio very early on Monday morning, talking about the Poetry Barter Project.

Finally, Bob Armstrong included the project in his Paperchase column in last weekend's Winnipeg Free Press.

Sunday, May 28, 2017

CFS: Poetry Barter Project

For the second summer in a row, I am trading poems for food.

Last year, I traded for lilacs, dandelions, rhubarb, nasturtiums, hyssop, deer sausage, grape leaves, zucchini flowers, cherries, apples, and pickerel.

This year, I am interested in fiddleheads, spruce bud tips, nettles, burdock, caragana, chicken-of-the-woods…and anything else edible that can be grown or foraged in the city.

How does it work? Say you’ve got abundant lilac. You email me at to say you’d trade a vaseful for a poem. You provide me with 5 words to use in the poem: dinosaur, birds, love, childless, peace. In a week's time, I visit your house/apartment/garden plot, pick a bouquet of lilac, and hand over a fresh poem.

About me:
Ariel Gordon is a Winnipeg writer. Her first book of poetry, Hump (Palimpsest Press, 2010), won the Lansdowne Prize for Poetry at the Manitoba Book Awards, as did her second collection, Stowaways (2014). She is currently working on creative non-fiction about Winnipeg’s urban forest, slated for publication with Wolsak & Wynn in 2018. 

Deadline: October 31, or when frost kills everything.

So, who has lilac/fiddleheads/nettles/mushrooms/etc and NEEDS a poem written just for them?

Saturday, May 27, 2017

Nature writing at Oak Hammock Marsh

So I taught a nature writing workshop today at Oak Hammock Marsh.

I don't always like teaching creative writing. It requires a lot of preparation time that is stolen from my writing time and, of course, the workshops themselves can be stressful.

But today's class was wonderful. The participants were pleased to be there and happy to try anything. They'd all been writing long enough that they weren't shy about sharing their first drafts or commenting on other people's drafts.

It helped, I supposed, that I was teaching a subject that I love. And that we were looking out on the marsh, with all the birds calling, with the wind blowing through last year's cattails. Children tromping on the boardwalk, a red canoe full of people setting off, birders with their big cameras and upscale camo.

We ended the workshop by peering at a large tree on the edge of the parking lot. I mistakenly identified it as a balsam poplar but later learned it was a cottonwood; luckily, the exercize wasn't dependent on a correct ID.

We started near the base of the tree, wrote for a few minutes, then took two steps back, wrote, stepped back, wrote...

It was the simplest of exercizes but it had such a strong effect. At first, all we could see was the gnarled bark and the wire fencing wound around the trunk. As we stepped backwards, we contemplated the tree's waxen leaves, how there was a clump of small black caterpillars on a cluster of leaves. Finally, we noticed the beautiful oval shape of the tree, how it was set between the marsh and the parking lot.

As we walked back towards the interpretive centre, we saw two black Clydesdales with a sleigh behind them. Children were climbing up the ramp into the sleigh, which soon set out, making a loop around the marsh.

Having said my goodbyes, I got on the next sleigh ride, listening to the driver give a history of Oak Hammock and, when that was done, walked a slightly longer loop than the one we'd just ridden along.

It was 4 pm by the time I left, gritty with sun and birdsong, and I had the great good fortune to go straight to a friend's garden, where he traded me lovage and mint for poems, as part of my Poetry Barter Project.

What a day! (I napped for four hours when I got home...)

Friday, April 07, 2017

The Pas in April

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I'll be doing two workshops and two readings as part of the UCN Language Arts Festival.

Once the festival is complete, I'll be doing a reading on April 27 at the Pas Public Library with Lauren and Duncan as part of National Poetry Month.

I'm grateful for organizers Keith Hyde and David Williamson for all their work and the University College of the North and the League of Canadian Poets for their support.

Monday, March 20, 2017

NPM in the WFP 2017

For the second year in a row, The Winnipeg Free Press will be hosting a National Poetry Month project.

Every Saturday in April, poems by Winnipeg writers will appear in the 49.8 section.

Eligible writers: Winnipeg writers. NPM in the WFP is committed to a diversity of voices: emerging, PoC, spoken word, Indigenous, established, LGBTQ+, and page poets. If your work was featured in the 2016 edition of NPM on the WFP, you may still submit, but the priority will be new writers.

  •        Email previously unpublished poems on the theme of “Time” to
  •        The DEADLINE for submissions is March 25, 2017.
  •        Submit a maximum of 5 poems. Each poem should be no more than 25 lines.
  •         Please submit your poems in one Word document (PDF or RTF also acceptable).
  •        Send a short bio (max 40 words), both in the body of the email AND in your submission.

About the Editor: Ariel Gordon is a Winnipeg writer. Her second collection of poetry, Stowaways (Palimpsest Press, 2014), won the 2015 Lansdowne Prize for Poetry. She is currently writing creative non-fiction about Winnipeg’s urban forest, which is slated for publication in 2018 with Wolsak & Wynn.

Saturday, March 04, 2017

In Conversation: Brian McInnes

Winnipeg Free Press—PRINT EDITION
by Ariel Gordon

Brian McInnes is an Ojibwa Anishinaabe education professor at the University of Minnesota Duluth. He is also the great-grandson of Francis Pegahmagabow, Canada’s most-decorated indigenous soldier, chief of his community, and supreme chief of the National Indian Government.

Brian will be launching Sounding Thunder: The Stories of Francis Pegahmagabow on March 7 at McNally’s. 

Free Press: What do you want people to know about Sounding Thunder?
Brian McInnes: I would like people to know that Sounding Thunder, while of clear interest for indigenous peoples and communities, is a story for all Canadians. Although the book features several stories of military legend and political hero Francis Pegahmagabow, it is not meant to serve as "his story" in the biographical sense. Sounding Thunder provides us all with a greater understanding of the history of his people, the Ojibwa worldview, and the major life experiences that made Francis the extraordinary individual he was.

FP: In addition to these public roles, Francis Pegahmagabow was also your great-grandfather. Did you feel any extra responsibility when writing this book?

BM: Absolutely! His contributions to Canadian history alone warrant a special degree of care and description. He is a significantly under-recognized Canadian figure, and the timing seemed right to release this book on the eve of Canada’s 150th anniversary. Francis was never recognized as a citizen in his lifetime but his contributions to Canadian society deserve commendation in this time of remembrance and celebration of the efforts of all peoples in making Canada what it is today. The book also provided a much-needed opportunity to gently correct some of the misinterpretations in the written record that marred his legacy.

FP: Why was it important for Francis’ stories to appear in both Ojibwa and English?
BM: In the contemporary movement to recognize indigenous languages as official languages of Canada, materials that first feature a native language should be of increasing value. I spend a considerable amount of the book explaining how language is central to identity, and how native languages and storytelling traditions have much to offer our collective understanding of the world. The book includes at least two maps that document some of the first place names for one of Canada’s most beautiful regions. The stories in (the book) are based on a number of stories that Francis told his youngest children, and that they encouraged me to share with the world. It was their wish that these stories be told first in the native language and I have honoured that request in this book.
FP: What are your goals for Sounding Thunder?

BM: I wanted Sounding Thunder to be a book that would bring a deeper appreciation for the historic contributions and often unseen struggles of indigenous peoples in Canada. In creating a more common understanding amongst Canadians about the past experience of native peoples, we have a better chance of creating a future that is characterized by reconciliation and positive relationship.
FP: You live in Duluth, teaching at the University of Minnesota. Is it difficult to live and work far away from the land and waters of Georgian Bay and your home community?

BM: I feel very lucky to be where I am but the connection to home is undeniable and ever-present. When I was a young man, my great aunt took me to a special place on Georgian Bay—the Turtle rock—(close to the birthplace of Francis Pegahmagabow) and told me it was a marker that the Ojibwa Nation had used in their migration westward. That moment somewhat directed me to where I presently am, particularly with my interest in traditional Ojibwa ceremonial traditions. Lake Superior is a pretty special place, and its connection to Lake Huron is very real. This end of Ojibwa country, fortunately, has a sense of resonance and familiarity that makes home seem not so far away.

Ariel Gordon is a Winnipeg writer.