Sunday, April 19, 2015

Lit Live-ing!


* * *

My next reading will be in Hamilton as part of the Lit Live reading series.

I'm excited to read with Patrick Friesen, who is a once and forever Manitoban and a very good poet.

I'm also looking forward to encountering the work of Andrew Forbes, Valerie Nielsen, and Kate Marshall Flaherty as well as the emerging writers. And rambling around Hamilton a bit more, after my brief stop there in October.




Thursday, April 16, 2015

Dirty hands


* * *

And, because I'm a charter member of GMB Chomichuk fan club, here's another diptych from last night's ChiSeries reading, both pre- and post-drawing.

Spec-fic poems! Live-drawing!


* * *

So last night was the ChiSeries reading in Winnipeg to celebrate National Poetry Month, which meant a slate lousy with poets but also live-drawing, which is a nice combo.

The event featured myself, Jonathan Ball, Adam Petrash, and GMB Chomichuk (who was the aforementioned live-draw-er...).

And it was fun to spend some time with the work of these writers. How-Tos on how to avoid becoming a horror movie cliche (not mine, shockingly). A poem on Leatherface and his chainsaw-wielding interpretive dance. A clutch of my were-mummy poems, both from Stowaways and newer variants. And a cut-up poem from Greg's Imagination Manifesto, which he handed out after.

It was also fun to go for a good, old-fashioned gossip over beer and buckets-of-bacon after the reading was done.

My thanks to Samantha Beiko and Chadwick Ginther for the organizing and hosting goodness!

Tuesday, April 14, 2015

Manitoba Book Awards

So the news is two weeks old now, but the shortlists for the 2015 Manitoba Book Awards were released on March 30.

Sixteen awards will be handed out this year at the ceremony April 25th at the Marlborough Hotel. The list includes two new prizes, the Beatrice Mosionier Aboriginal Writer of the Year Award & the Chris Johnson Award for Best Play by a Manitoba Playwright.

And University of Manitoba Press authors got eight Manitoba Book Award nominations in five categories.

I'm proud of that, even though I had very little to do with it in my role as Promotions/Editorial Assistant at the press.

I'm also proud that my poetry collection Stowaways was nominated for the Lansdowne Prize for Poetry / Prix Lansdowne de poésie.

Many thanks to Palimpsest Press for its support of the book & to Toronto poet Jim Johnstone, who edited it.

Also nominated for the Lansdowne are the following books / poets, all of which I recommend you check out:

De l’amuïssement des certitudes by Laurent Poliquin, published by Jacques André Editeur

"Que peut rappeler le poétique au politique, la poésie à la loi ? Que la poésie va vers ce qui résiste. Elle provoque le réel, elle interprète ce que le corps et la voix peuvent tracer de l’espace et du temps. Laurent Poliquin, dans son recueil De l’amuïssement des certitudes, présente sa quête dans laquelle il cherche à structurer sa souveraineté et son opposition à l’asservissement quotidien. C’est dans la musicalité des mots et une certaine sensualité qu’il engage un combat contre la pesanteur de l’existence. Ainsi, les défis cinglants face à la mort, l’aliénation contemporaine, la brume des incertitudes s’atomisent dans ces poèmes épurés, fougueux et sans contredit: amoureux"

*

In the Tiger Park by Alison Calder, published by Coteau Books

"Alison Calder's poetry is known for shining the light of the poet's curiosity on all manner of 'natural occurrences,' which nevertheless stand out. Again, as with her first book, Wolf Tree, this collection is about what exists at the edges of human experience, what's out there but is largely unseen by the average human being – animals, the line a receiver makes running down a football field, the calligraphy of pheasant wings in the snow. It's about ghosts, how these things operate as ghosts to us now, in this age—things that might have, in another age, occupied a more central place in our lives."

 *

What Lies Behind by Luann Hiebert, published by Turnstone Press

"What Lies Behind, Luann Hiebert’s debut collection of poetry, explodes the notion of the common and everyday. The seductive songs of motherhood and love and springtime on the prairies are confronted with illness, death, and the coldness of time marching on without us. With the weight of history behind her, Hiebert arrests the patterns of daily life and in their place leaves a beautiful truth that is more awesome and delightful than memory could serve."

*

So: congratulations to all the writers who were nominated. I'm also thinking of all those writers whose books weren't nominated. Here's to all of us!

I'm off to assemble a vaguely-1920s costume...

Friday, March 20, 2015

nextnextnext


* * *

The ChiSeries is back in April with a never-before poetry edition! Each poet has been 'commissioned' to compose a special piece for the evening, plus there will be a live paint spectacular with GMB Chomichuk during the readings. Mark it in your calendars as a means to celebrate the (hopefully) abolished Winter! Chadwick Ginther will be on hand to host, most likely with another famous novelty belt buckle, because of reasons.

As always, the event is FREE to the public and will take place in the Atrium at McNally Robinson Booksellers at 7 PM. The ChiSeries is a non-profit reading series that pays all readers for their time, and is largely donation run.


ARIEL GORDON is a Winnipeg writer. Her first book of poetry, Hump, won the 2011 Aqua Books Lansdowne Prize for Poetry. Most recently, her chapbook How to Make a Collage won Kalamalka Press’ inaugural John Lent Poetry-Prose Award. Her most recent publication is Stowaways (Palimpsest Press). When not being bookish, Ariel likes tromping through the woods and taking macro photographs of mushrooms.

JONATHAN BALL, winner of the John Hirsch Award for Most Promising Manitoba Writer, teaches English, film and writing at universities in Winnipeg. He is the author of Ex Machina and Clockfire, which was shortlisted for a Manitoba Book Award. Ex Machina considers the relationship between humans, books and machines, and Clockfire contains 77 plays that would be impossible to produces. Both books were published under Creative Commons licenses, so you can remix their contents. Ball's latest collection, The Politics of Knives, won the 2013 Aqua Books Lansdowne Prize for Poetry (Manitoba Book Awards).

ADAM PETRASH is a writer, poet, and journalist. He's written articles, book reviews, and interviews for Canstar Community News, Drums Etc Magazine, the Uniter, the Winnipeg Free Press, and the Winnipeg Review. His fiction has appeared in journals such as Luna Luna Magazine and Whiskeypaper. He lives and writes in Winnipeg.

GMB CHOMICHUK is the writer and illustrator of The Imagination Manifesto and Raygun Gothic. His writing is featured in Fractured: Tales of the Canadian Post Apocalypse and his illustrations in Long Hidden: Speculative Fiction from the Margins of History. He also collaborated on a children's book with Justin Currie called Cassie and Tonk (2014). 2015 will see the launch of Underworld (with Lovern Kindzierski) from Renegade Arts Entertainment and Infinitum from CZP's new graphic novel imprint. He wants you to make comics too.

Saturday, March 14, 2015

Out-of-Town-Authors: Claire Caldwell

Winnipeg Free Press—PRINT EDITION
By Ariel Gordon 

Claire Caldwell is a Toronto writer. She writes poems, teaches poetry workshops for kids and edits Harlequin romances. She's currently touring Invasive Species, her first book. She recently took the time to talk to Ariel Gordon.

Q: What do you want people to know about Invasive Species?

A: Well, as the cover and title suggest, the book is populated by both animals and people, including urban cougars, a dead whale, multiple bears, brothers, New Mexican moths, medical students and a psychic. There are some vegetables and minerals, too.

Q: Tell me about that strange object/phenomena called 'the first book.'

A. People keep asking me how long it took me to write the book, and my best answer is, "my whole life." Obviously, none of the poems I wrote in Grade 7 made it into the collection (RIP "Song of the Licorice Tree"), but it does feel like all of my writing efforts from childhood until now led to or culminated in this final product. Which makes writing a second one daunting!

Another thing I've found interesting—though it might not be a first-book phenomenon, exclusively— is that I don't feel done with a lot of the themes I tackled in Invasive Species. I felt like I only truly understood what the book was about in the final phase of writing. I still feel motivated and invigorated by the question of our place in the natural world and what it means to conceive of the "natural" world as separate from humanity/society. I'm still writing poems about the relationships we have with animals and the spectre of climate change.

Q: How do you approach writing poems about animals? Do you start with field guides? With first-hand observations? Do you have an ethics of writing about animals?

A: I tend to start with anecdotes I hear or read about animals and humans coming into contact in bizarre or unusual ways, or sometimes I'll come across snippets of biological/zoological research that will be the jumping-off point for a poem. I'm not sure I have an ethics of writing about animals, but that's really interesting to think about: How do you ethically represent subjects that have no way to access or conceptualize those representations (as far as we know)? I guess my general goal is to interrogate the lines we draw between ourselves and animals, to explore both our fundamental differences and where those lines begin to blur.

Q: Also, can you write about nature these days without talking about climate change?

A: I don't think so. Even if you don't address climate change explicitly, I think any nature writing today is going to have a shadow hanging over it—a sense of loss/dread/urgency that's informed by what's happening all around us.

FP: According to your bio, you edit "wholesome romances and action-adventure novels" at Harlequin. Tell me about the constraints of romances versus poetry. Tell me about moving between commercial and so-not-commercial genres.

A: My approaches to editing and writing are very different to begin with, so it's hard to say how much of the distinction comes from the genre versus the work itself. I'm often asked about the Harlequin "formula," but I swear there is no such thing! There is definitely form and structure, though, and I find it very rewarding to walk that fine line between fulfilling certain promises to readers (the heat level for example, or the happy ending) and developing compelling, motivated characters and fresh plots. I love rolling up my sleeves to help authors shape their stories, and I enjoy how collaborative that process is.

Writing poems is quite solitary, by comparison, and it still feels a bit alchemical to me—so many conditions have to almost magically fall into place for me to feel like I'm really in the writing zone, whereas I can sit down and start editing without a second thought.

FP: To people on the Prairies, who rarely spend more than 30 or 40 minutes in transit, Toronto's hour or more commutes seem like mythical spaces. (People in Toronto talk about their commutes, whereas people in Winnipeg talk about the weather... ). Do you bus-write?

A: My commute is a bit too hectic to write—getting a seat can be dicey, and I have to transfer subway lines/buses. Sometimes I will jot down an idea or image in my phone, though. Commuting is actually my prime reading time. Though we all complain about public transit, I'm grateful that there's a mostly reliable mode of transportation that allows me to get lost in a book every day. Of course, there are moments when the intimacy of reading can be a bit awkward in such a public space—you wonder if people are judging your book choice, or you start crying or laughing at a particular passage.

Ariel Gordon is a Winnipeg writer.