Monday, 28 February 2011

The Toronto Quarterly - Issue 7 (Final Call for Submissions - Deadline is at Midnight TONIGHT!!! February 28, 2011)!!!!




ONLY ONE WEEK REMAINING TO SUBMIT YOUR WORK FOR TTQ7!!!

Send us your BEST poetry (4-6 poems), short stories (1-2 stories max, 500-3000 words), artwork, and photographs. We prefer that you copy and paste your poetry into the body of your email or send as ONE attachment in word.doc format. Send ALL short story submissions as a word doc. attachment. Any poetry or short story submissions sent as multiple attachments or not in word.doc will NOT be read.

If you have a novel/poetry book, a poetry/music cd or dvd that you're interested in having us review, please email us your query to thetorontoquarterly@hotmail.com with REVIEW REQUEST typed into the subject box. BOOK and MUSIC REVIEWS submitted will be considered for publication.

Send us your ARTWORK and PHOTOGRAPHY. Send in high resolution (jpeg file). We will consider all artwork submitted for the COVER of TTQ7.

ALL SUBMISSIONS should contain a short biography (5-6 lines MAX) stating town/city you reside in, previous publishing accomplishments, educational background if so desired. Please DO NOT send us a novel about yourself. Make it interesting and promote your books and/or webpages if desired.

PLEASE: ONE submission per issue. Multiple submissions will NOT be read. Be sure to send us your BEST work the first time or wait until the following issue to submit again.

We DO NOT publish previously published works.

PLEASE NO SIMULTANEOUS SUBMISSIONS

ALL RIGHTS and COPYRIGHT upon publication in TTQ7 remains with the author.

PAYMENT: Each contributor to TTQ7 will receive a FREE e-book of TTQ7 as payment. It will be emailed to the contributor as a pdf file.

ALL SUBMISSIONS should be emailed to: thetorontoquarterly@hotmail.com

SUBMISSION DEADLINE IS FEBRUARY 28, 2011.


Free Counter
Free Counter

Tuesday, 22 February 2011

The Toronto Quarterly - Issue 7 (Final Call for Submissions - Deadline is at Midnight February 28, 2011)




ONLY ONE WEEK REMAINING TO SUBMIT YOUR WORK FOR TTQ7!!!

Send us your BEST poetry (4-6 poems), short stories (1-2 stories max, 500-3000 words), artwork, and photographs. We prefer that you copy and paste your poetry into the body of your email or send as ONE attachment in word.doc format. Send ALL short story submissions as a word doc. attachment. Any poetry or short story submissions sent as multiple attachments or not in word.doc will NOT be read.

If you have a novel/poetry book, a poetry/music cd or dvd that you're interested in having us review, please email us your query to thetorontoquarterly@hotmail.com with REVIEW REQUEST typed into the subject box. BOOK and MUSIC REVIEWS submitted will be considered for publication.

Send us your ARTWORK and PHOTOGRAPHY. Send in high resolution (jpeg file). We will consider all artwork submitted for the COVER of TTQ7.

ALL SUBMISSIONS should contain a short biography (5-6 lines MAX) stating town/city you reside in, previous publishing accomplishments, educational background if so desired. Please DO NOT send us a novel about yourself. Make it interesting and promote your books and/or webpages if desired.

PLEASE: ONE submission per issue. Multiple submissions will NOT be read. Be sure to send us your BEST work the first time or wait until the following issue to submit again.

We DO NOT publish previously published works.

PLEASE NO SIMULTANEOUS SUBMISSIONS

ALL RIGHTS and COPYRIGHT upon publication in TTQ7 remains with the author.

PAYMENT: Each contributor to TTQ7 will receive a FREE e-book of TTQ7 as payment. It will be emailed to the contributor as a pdf file.

ALL SUBMISSIONS should be emailed to: thetorontoquarterly@hotmail.com

SUBMISSION DEADLINE IS FEBRUARY 28, 2011.

Free Counter
Free Counter

Friday, 18 February 2011

TTQ's Poem of the Week - (Week 16) - Cathy Ford - Hat-Trick Afterlife



Cathy Ford is the author of fourteen books of poetry and numerous chapbooks and folios published by blewointment press, Intermedia Press, Caitlin Press, Vehicule Press, Harbour Publishing and gynergy books. Her poetry, personal essays, poetic fictions, novel excerpts, prose and long poems have appeared in more than two-hundred magazines, journals and anthologies. She has worked as a creative writing teacher, editor, typesetter and book designer. Ford served as the president of the League of Canadian Poets and was one of the founding members of the Feminist Caucus of the LPG. She is a member of the League of Canadian Poets, the Writers’ Union of Canada, and PEN International. For many years she has worked as a community and arts activist committed to world peace and improving the status of women, especially women artists in Canada and internationally. Born in Lloydminster, Saskatchewan, she grew up in northern British Columbia, attended the University of British Columbia and Simon Fraser University, and has a BFA and MFA in Creative Writing, with Honours. She lives in Sidney, B.C., and is married, with one son.

the art of breathing underwater (Mother Tongue Publishing, 2010), is Cathy Ford’s first full-length book of poetry in twenty-one years. Legendary Canadian poet bill bissett writes "21 yeers sins cathy fords last book its bin a long time 2 wait the art of breathing underwater has bin well worth th wait itsa brillyant book devoteez uv th long wide line will b thrilld with her full continuing breething fords xpert delineaysyun uv convenshunal gendr dynamiks is incisiv bloodee n encouraging in its remedeez a veree great book beautiful a joy 4evr."



Hat-Trick Afterlife

This is how I remember it, your being born. You decided. I protested. Even then
I was reluctant to let you go. To let go of you. In all the places you were attached.

I wanted to hold on to you still. This is how I remember it. I had my heels up
on your father’s shoulders. This is a position you will one day be more familiar with

your being born in your parents’ own bed. Dramatic. Yes. Loud. Yes. Swearing. Yes.
For the pain. Not the pleasure. No regrets. This is how I remember it. The way you

smelled, and still do, just like a child born out of my body, conceived with your father’s
love too, just like that. Toss you in a basket of fresh peas, or smell at the skin of loving

it cannot be duplicated, or remedied, this love. We took all the cosmologies to heart,
your father and I, like novitiates, and still were defeated by adoring you so utterly

the only redemption is, this is how I remember it, you came in, or out, you might say,
already understanding forgiveness. All interrogations became revelations. The sex lives

of metaphors ridiculed by your faithfulness. The fear of the unknown you rendered
helpless, and absurd, the dark, once our bodies met again, by two, by three

even if we could not believe you were growing up, and were not a baby anymore, and
would grow taller, your great-grandmother laughing too, and recognizing all of you, how

entire the story of the way you are still, to this day, completely like
the beloved one we lost, and yet you are only yourself, how

we counted ourselves lucky, having met you. Now the after-burn, rocket-launch of you,
slapshot into the vast blue net of the away team, home we are visitors, astonished, we are

grateful…a cry we anticipated, a cry, like your being born, you did not cry once
for the first three days of your life, we realized we knew nothing, drew

from this so-inadequate allegro intelligence, space-
pelvis leaned open, into your first, second, third, game-tying goal. Heart matters…




Free Counter
Free Counter

Wednesday, 16 February 2011

Toronto Poets - 5 Questions Series - Kate Marshall Flaherty



Kate Marshall Flaherty has published three books of poetry, Tilted Equilibrium (Hidden Brook Press, 2006), String of Mysteries (Hidden Brook Press, 2008) and Where We Are Going (Piquant Press, 2009). She was also a part of the three-poet anthology From O to Snow (Hidden Brook Press, 2008). She has also been published in the anthology Not A Muse: Woman's Poetry around the World and in many literary journals such as Descant, CV2, Quills, Other Voices, Freefall, The Toronto Quarterly, and The Windsor Review. She won the Shaunt Basmajian Chapbook Award, Canadian Church Press Poetry Prize, and was short-listed for Nimrod's Pablo Neruda Poetry Prize, the Malahat Review Best Poem and Descant's Best Canadian Poem. She lives in Toronto with her husband and three spirited children, where she teaches yoga, meditation and mindfulness, guides teen retreats on the Golden Rule and leads "Writing as a Spiritual Practice" workshops. Poetry is her life line.



Where We Are Going is Flaherty’s latest collection of poetry, and as of September, 2010, is currently in its second printing through Piquant Press, and can best be described as a poignant and emotion-filled collection that tugs on your heartstrings. Flaherty reminds us that, at times, life is filled with turbulence and obstacles that seem insurmountable, but with grace and acceptance, we can overcome. Her poem “Silver Bridge” no better describes Where We Are Going.

Silver Bridge

You remember seeing the Danforth bridge -
strung with threads -
an angel harp with you inside it
like an astounded moth
in a spider’s web,
or a bead in a dream catcher.

You travel inside this threaded instrument
on your way to violin lessons
like you might be Jonah
inspecting the whale’s intercostals,
or Noah’s offspring
revisiting the ribs of the arc.

You ponder the workmanship
of this half-mile of elaborate lines,
taut on the frets of the bridge,
and recall a Buddhist poem
about a musician who spent his life
stringing and un-stringing his lute,

But never played.

And you realize that this weave of silver filaments,
this enticing spun silk
glinting in the September sunlight

Is a trap, a cage, a publicly-funded skein

To prevent you
from leaping to your death.



TTQ - When was it that you first started writing poetry and who were some of your early influences poetically? Was there a passage in time the reconfirmed to you that poetry would indeed be your primary genre of writing?

Kate - I first started writing poetry when I was about 8 years old--I remember still the first poem I ever read aloud in the classroom, in grade four, about fall leaves. I even think I used to make up poems in my head and pretend to be writing cursive ... just making big ink loops and then saying whatever came into my head and saying that I was "writing" it out. I remember my Mom had a Dylan Thomas record that I listened to, and I loved some of those. I loved her reading me ee cummings “balloon man” somewhere along the way, and I remember being really moved by Earle Birney's David in grade school. In High School, I loved TS Eliot, especially The Gift of the Magi and the Love Song of J Alfred Prufrock. I have that book! Canadian Poets Plus Five, and I read the margaret Avison, Margaret Atwood and Dorothy Livesay chapters over and over. I feel that as far back as grade five I was affirmed as a poet by my teacher and in grade six I won the vote for my poem, and in High School I had quite a few poems accepted for journals and contests etc. I think these events really affirmed me as a writer at a young age. Several teachers particularly believed in me, so here's a shout out for Ms Tynan, Mr Barry, Ms. Bourden-King, and Sr. Marie Sheila in grade and High School. Even as a nerdy kid with glasses and being too tall, I think I was invited to birthday parties mostly to tell stories at sleepovers, or to maybe because I might write an occasional poem for the birthday girl. I think grade 9 was the most powerful year, as my Drama and English teacher offered to read some of my writing outside of school. It was she who sent my stuff in to contests and journals. By now some of the mean girls teased me about being a poet, but Ms Bourden King was so cool, it was amazing to have her support.

TTQ - When did you first start working on the poems that comprise Where We Are Going and was there particular theme or message you intentionally wanted to convey to your readers?

Kate - Some of those poems were written several years before, and some were completed only months before being published. I think some of the themes I had been exploring in the six or so years that lead up to that book were the breaking away of my teenage son as he grew into his own skin, the death of my friend Bev after a ten-year period of remission and struggle with cancer, memories of my childhood, and perhaps a sort of fascination with interconnectedness and quantum-ness, if there is such a thing. James Dewar, the publisher at Piquant Press, asked me to give him EVERYTHING--so he astounded me by choosing poems from all over the place--past chapbooks, things I workshopped in Banff, brand new poems I had just written at Sue Reynold's writing workshops, he even blended a few poems that didn't seem to be working on their own. I was amazed and honoured by the way he chose the poems, ordered them, told a sort of story in their progress, and then tied it all together with that beautiful introduction. I was so moved when I read it. So I have to give him credit for pulling things together. He must have plowed through 400 poems, and I so enjoyed playing around with some of them after his suggestions.

TTQ - I believe, you were diagnosed with M.S. and lost your best friend to cancer during the writing of this collection. How painful has that journey been for you and to what extent has your journey affected both your spiritual faith and your writing?

Kate - Wow, what a wonderful question. Yes, I actually became much closer to my friend Bev when her cancer came back at just about the same time as my MS diagnosis knocked me off my feet. So, she and I began what I would consider a very spiritual journey that blessed me with the invitation to accompany her until the very end of her life. I think she allowed herself to be vulnerable with me, and she was a very strong and proud person, and that opened me up incredibly. I feel I got to see through her moments when the earthly and divine intersect--when she seemed to be seeing angels near the end. It was very life-giving for me, and sure taught me to live in the moment. Also, it made having MS seem less of a burden, because it is not a death sentence, but an invitation to let go of some things and try to live in the moment. She taught me that, and so many poems came out of that intense time. I think also that being in the presence of someone who is dying made my own life seem so bright and it made me grateful for so many things.

TTQ - Tell us about some of the writing workshops you have been and are currently involved with. How much of an asset can writing workshops be to up-and-coming writers/poets and what are your best words of advice for young writers?

Kate - I love all the workshops I have been lucky enough to be a part of, and there have been many. As I think about it, workshops are the single most important way to share our work and develop our craft through the insights of other poets. I go monthly to a wonderful writing prompt workshop with Sue Reynolds. I meet a few Monday’s a month with my wonderful "Muse group" of poets, and with another newly forming group. I have been a part of the Art Bar workshops, and am part of the Plastecine Poetry workshops as well, although I have a class right now with that, as I teach a yoga class at that time. I also was fortunate enough to have been a part of the Banff Centre's Writing with Style and Wired Writing workshops, with the life-changing support of Tim Lilburn, Anne Simpson and Liz Philips. I have also had incredible feedback from my Renaissance Conspiracy group, and from the most amazing editor, Allan Briesmaster, who is also a member of that group. I also have learned so much from Mic Burrs, who also has edited my work in the past. And the insights of one-on-ones with people like Donna Langevin, Deb Panko, Allan, Mick, and of course James and Sue have really helped me to "separate the wheat from the chaff" in my poems. I can say with my heart that workshops are so important, and that I would probably not have the confidence to read at readings, or to have been blessed with five books, if it hadn't been for the inspiration, support, connections and challenges of being in workshops. I think my advice to young writers would be--come to readings, get into a group, ask someone you trust to look at your work, and come on up to an open mic. Most poets and work-shoppers are so affirming and supportive, as we all stated out somewhere too, and we all need the boost of someone who thinks our work is good.

TTQ - Ten Part Question - The Pivot Questionnaire

TTQ - What is your favourite word?

Kate - Hobbeldehoy! It is not a battle cry, or a turning toy, or a chunky cookie. It is " a tall gangly youth."

TTQ - What is your least favourite word?

Kate – Impossible

TTQ - What turns you on creatively, spiritually or emotionally?

Kate - Creatively, hearing other poet's read, reading great words, music and life events inspire me. Spiritually, I find those moments when the earthly and divine intersect have astounding power--rites of passage like birth and death, the amazement in nature, paradoxes like being lonely in a crowd or fulfilled in solitude, and I guess I might be categorized as a metaphysical poet, because everything is spiritual to me, and I see the divine light in just about everything. Emotionally, I can cry and laugh many times in a day. I guess everything moves me. I think I am very sensitive, but I hope I am also empathetic--some deeply feeling poems I have written have been from someone else's perspective. I am moved just imagining what it may have been like to be in their shoes or situation.

TTQ - What turns you off?

Kate - Bullies, people with closed minds or big egos, big institutions that have long outlived their purpose, yet still cling to power and pretense.

TTQ - What is your favourite curse word?

Kate - But nugget! Or maybe turd-burgler! My youngest son calls me those when he's enraged and I just have to laugh and the trouble dissolves.

TTQ - What sound or noise do you love?

Kate - I love the sound of the eternal ohm, or any "warm pad" of music that soothes the senses and quiets the mind.

TTQ - What sound or noise do you hate?

Kate - The answer is the end of the joke. What did the grape say when the elephant stepped on him? Oh, he just let out a little whine. (I hate the sound of incessant whining) and of any weaponry being fired.

TTQ - What profession other than your own would you like to attempt?

Kate - I'd love to be a Theatre Director, or the work in a bookstore, or to run a yoga/writing/therapy retreat house somewhere in nature. Some may say I should have been a clown, the happy kind.

TTQ - What profession would you not like to do?

Kate - Chartered Accountant, Judge, or anything in the military.

TTQ - If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Kate - Welcome! You may have fumbled here and there, but you tried to live the golden rule, and you wrote poetry, so come on in! Wine's in the fountain.








Free Counter
Free Counter

Friday, 11 February 2011

TTQ's Poem of the Week - (Week 15) - Charles Bukowski - the man with the beautiful eyes




Henry Charles Bukowski (born Heinrich Karl Bukowski; August 16, 1920 – March 9, 1994) was a German-American poet, novelist and short story writer. His writing was influenced by the social, cultural and economic ambience of his home city of Los Angeles. It is marked by an emphasis on the ordinary lives of poor Americans, the act of writing, alcohol, relationships with women and the drudgery of work. Bukowski wrote thousands of poems, hundreds of short stories and six novels, eventually having over 60 books in print. In 1986 Time magazine called Bukowski a "laureate of American lowlife."

Bukowski died of leukemia on March 9, 1994, in San Pedro, California, at the age of 73, shortly after completing his last novel, Pulp. The funeral rites, orchestrated by his widow, were conducted by Buddhist monks. An account of the proceedings can be found in Gerald Locklin's book Charles Bukowski: A Sure Bet. His gravestone reads: "Don't Try", a phrase which Bukowski uses in one of his poems, advising aspiring writers and poets about inspiration and creativity. Bukowski explained the phrase in a 1963 letter to John William Corrington: "Somebody at one of these places asked me: "What do you do? How do you write, create?" You don't, I told them. You don't try. That's very important: not to try, either for Cadillacs, creation or immortality. You wait, and if nothing happens, you wait some more. It's like a bug high on the wall. You wait for it to come to you. When it gets close enough you reach out, slap out and kill it. Or if you like its looks you make a pet out of it."

His last collection of poetry, The Last Night on the Earth Poems, published two years prior to his death, is clearly one of his best. Many of the poems in this collection have been used in many documentaries about Bukowski's life and times including, "Dinosauria, we," "the genius," "the soldier, his wife and the bum," and this weeks poem of the week "the man with the beautiful eyes" which was also made into a feature animated film.





the man with the beautiful eyes

when we were kids
there was a strange house
all the shades were
always
drawn
and we never heard voices
in there
and the yard was full of
bamboo
and we liked to play in
the bamboo
pretend we were
Tarzan
(although there was no
Jane).
and there was a
fish pond
a large one
full of the
fattest goldfish
you ever saw
and they were
tame.
they came to the
surface of the water
and took pieces of
bread
from our hands.

Our parents had
told us:
“never go near that
house.”
so, of course,
we went.
we wondered if anybody
liveed there.
weeks went by and we
never saw
anybody.

then one day
we heard
a voice
from the house
“YOU GOD DAMNED
WHORE!”

it was a man’s
voice.

then the screen
door
of the house was
flung open
and the man
walked
out.

he was holding a
fifth of whiskey
in his right
hand.
he was about
30.
he had a cigar
in his
mouth,
needed a shave.
his hair was
wild and
and uncombed
and he was
barefoot
in undershirt
and pants.
but his eyes
were
bright.
they blazed
with
brightness
and he said,
“hey, little
gentlemen,
having a good
time, I
hope?”

then he gave a
little laugh
and walked
back into the
house.

we left,
went back to my
parents’ yard
and thought
about it.

our parents,
we decided,
had wanted us
to stay away
from there
because they
never wanted us
to see a man
like
that,
a strong natural
man
with
beautiful
eyes.

our parents
were ashamed
that they were
not
like that
man,
that’s why they
wanted us
to stay
away.

but
we went back
to that house
and the bamboo
and the tame
goldfish.
we went back
many times
for many weeks
but we never
saw
or heard
the man
again.

the shades were
down
as always
and it was
quiet.

then one day
as we came back from
school
we saw the
house.

it had burned
down,
there was nothing
left,
just a smouldering
twisted black
foundation
and we went to
the fish pond
and there was
no water
in it
and the fat
orange goldfish
were dead
there,
drying out.

we went back to
my parents’ yard
and talked about
it
and decided that
our parents had
burned their
house down,
had killed
them
had killed the
goldfish
because it was
all too
beautiful,
even the bamboo
forest had
burned.

they had been
afraid of
the man with the
beautiful
eyes.

and
we were afraid
then
that
all throughout our lives
things like that
would
happen,
that nobody
wanted
anybody
to be
strong and
beautiful
like that,
that
others would never
allow it,
and that
many people
would have to
die.





Free Counter
Free Counter

Thursday, 10 February 2011

Toronto Poets - 5 Questions Series - Meaghan Strimas



Meaghan Strimas lives in Toronto, where she works at Quill & Quire magazine and for the University of Guelph's Creative Writing MFA program. She is the editor of The Selected Gwendolyn MacEwen (Exile Editions, 2007), and the author of two collections of poetry, Junkman's Daughter (Exile Editions, 2004), and most recently, A Good Time Had By All (Exile Editions, 2010). She is currently at work on a novel.

Her most recent collection A Good Time Had By All. manages to pull the reader into a sinister world that Strimas has superbly concocted and lived unabashedly. These poems possess a darkness most can identify with and have been compared to a gory, glorious hangover. Earlier versions of these poems have appeared in Exile: The Literary Quarterly, The Wascana Review, Taddle Creek, The Globe and Mail, and in the anthology Poetry as Liturgy. Her poem “Lost Causes” is from A Good Time Had By All.


Lost Causes

You turn a blind eye. Lost causes don’t merit, I told you so.
I’m spoiled. Turning to curd. A rascal churning out fiascos.
I have my days, but a long list of failure lessens the glow.

I suck on mothballs. I pick my nose. Trivial. Now you know.
Fuck-up. Loser. Face distorted by my mask of pantyhose.
You turn a blind eye. Lost causes don’t merit, I told you so.

Have you heard of Noonday Demon? A bottomless low?
I wanted to chew its nose off but fell asleep in a sticky hole.
I have my days, but a long list of failure lessens the glow.

Why’s the fish catching bird’s blood in a bowl? Why does
the beetle sew the shroud? Who wrote this horror show?
Your eye wanders. My head hurts. Tell me about so & so.

I don’t blame you, not really. I’m heavy. Wet wool.
I’ve drained the sink’s dirty water. Wrung the towel.
We had our day. My endless failures lessened the glow.

Let’s not say our sorrys. Some day we’ll both go cold.
Until then, if my body writes your body & your body doesn’t
reply, should my body write your body to ask the reason why?
Never mind. You’ve turned. Say it. You told me so.





TTQ - Your latest collection of poems A Good Time Had by All (Exile Editions, 2010) seems inherently autobiographical, seemingly consisting of mini-snapshots of your life. Was writing this collection cathartic in many ways for you and what things if any did you learn about yourself after writing it? What inspired the gnome poems?

Meaghan - Yes, writing is cathartic for me. It’s an exciting, sometimes uncomfortable process that feels very indulgent. It’s a time when I can be truly alone with myself to reflect. So much of a person’s life is consumed by work, by making a buck, and it’s easy to get caught up in the management of external expectations and commitments. When I haven’t written for a while, I feel unmoored, and every day appears to be a little more pointless than the last. I like myself better when I am writing and I’m an easier person to be around. As for what I learned about myself through writing A Good Time Had by All, well, I suppose it’s that I want to do better the next time round. I can see that I’ve developed a little as a writer when I compare this book to my first, but I’m a far way from feeling as if I’ve done a good enough job. I will always have regrets.

Oh, Gnome, Sweet Gnome came about for a few different reasons:

There was a time when I was reading a lot of Robert Browning and became fascinated with the Dramatic Monologue. I wanted to write a narrative sequence in the voice of a character who is consumed, in the thralls of an obsessive, manic, mostly unrequited love. I wanted to write how rejection feeds infatuation. The fact that the narrator, Harry Humbolt, is in love with a concrete garden gnome is absurd, but fitting: his love is misplaced (he’s fallen for a piece of concrete), helpless from the very get-go, yet his perceived loss is his undoing. Some people in this world are always, ultimately alone.

TTQ - A Good Time Had by All was edited by Karen Solie who was the winner of the 2010 Canadian Griffin Poetry Prize, Pat Lowther Award, and Trillium Book Award for Poetry, for her book Pigeon. What was it like for you working with Karen Solie through the editing process and how significant was her input? Do you think your experience with working with her has made you a better poet?

Meaghan - I wanted to be edited by Karen Solie because I know she is a better poet than me. I wanted to work with a poet who would call me out on my nonsense, and although I don’t know Karen all that well, my gut told me that she isn’t the type of person to go easy or sugar-coat. Karen didn’t teach me how to write, but she pointed out the holes in my work, and she noted the repetitions and cheap tricks. Like a good editor, she asked the right questions.

TTQ - In your opinion, what constitutes a good poem? Take us back in time and tell us about the first poem you ever read that touched you in a way unimaginable and convinced you that from that time forward you would write poetry.

Meaghan - I don’t know that I can adequately answer this question. The very thought of “what makes a good poem” makes me want to have a long nap. It’s a big question and every writer who is asked this question will provide a different answer. I can tell you that I appreciate clarity. I want to understand what the hell is going on in a poem. I don’t read in order to be confused. I read because I want to make a connection with another person. I am a lonesome type and I read because it provides me a certain degree of comfort. Reading a really good poem or book, connecting with the world that writer has conveyed, assures me of the fact that I am not alone in this place. I tend to have a great appreciation for writers who have set down the right words in the right place.

TTQ - How important is reading your poetry in front of a live audience? What do you learn from those experiences and do you have a favourite venue or reading series to read in?

Meaghan - I find reading in public nervous-making, but I do think it is important and I try to do it well. I do think that reading aloud to a group can provide an audience with a new layer of meaning, and let’s face it, reading in public allows a writer to introduce his or her work to new, prospective readers. We all want to sell a few books! As for my favourite reading series, I can’t say that I have one, but I can say that I’ve really enjoyed reading at Pivot, and IFOA is always fun because it makes me feel as if I’m actually a writer.

TTQ - Ten Part Question - The Pivot Questionnaire

TTQ - What is your favourite word?

Meaghan - It’s tie between fiasco and farce.

TTQ - What is your least favourite word?

Meaghan - To “noodle.” “Oh, I just noodled about today.” I was once in a relationship with a guy and it wasn’t going so well for either of us; I knew the end had come when he used the word “noodle.” Yup, I can be that fickle.

TTQ - What turns you on creatively, spiritually or emotionally?

Meaghan - Well, time away from work tends to make thinking and writing a lot more doable. I love living in Toronto, but I find that it’s so easy to get caught up in work. I obsess over projects. I bought a little place in Sauble Beach a few years back (I can’t afford Toronto real estate!) and I try to get there as often as I can in the spring, summer, and fall. There something about the quiet of the country: it makes me slow down a little. I know this sounds a predictable, but it’s the truth.

TTQ - What turns you off?

Meaghan - Oddly enough, I sometimes find that talking to other writers turns me off writing. I mean, there are writers I love talking to but I have found that certain writers can be so bloody precious. There are people who have a real sense of entitlement, that because they are writers they are therefore special people. It can be painful.

TTQ - What is your favourite curse word?

Meaghan - Sugar beets! I picked this lame swear up from my Grandmother, who I spent a lot of time with until very recently. It sounds really nerdy but it works for me. I do drop the odd “F” bomb, but I try avoid actual swears. I don’t mind curse words, but I think we tend to overuse them. I once dated a guy who couldn’t complete a sentence without peppering every line with shit, or piss, or fuck. It got a little tiresome.

TTQ - What sound or noise do you love?

Meaghan - I love waking up early on a spring morning to the song of a Robin. I also like the noise of a push lawn mower.

TTQ - What sound or noise do you hate?

Meaghan - Oh gosh. I live in a very noisy neighbourhood. I swear, people on my street get a real kick out of watering their pavement. The hissing of a power sprayer drives me to drink. The sounds I dislike have more to do with context they erupt within than they do with the sounds themselves. I mean, if I want some quiet, I want some peace and quiet. The very voice of a person I love can tick me off. I’m really fun to love with.

TTQ - What profession other than your own would you like to attempt?

Meaghan - I am a gardening nut. I love reading botany books, figuring out soil conditions, digging in dirt. I want to know the name of every plant and I want to understand what conditions will allow a plant to thrive. I don’t know if I’d be able to hack it, though. Working as an actual gardener/landscaper is likely not what I imagine it to be.

TTQ - What profession would you not like to do?

Meaghan - I wouldn’t want to work in a hospital or nursing home. I have family members who are caregivers and their empathy and patience truly astonish me. I just spent a few days living in my grandmother’s nursing home room. She was dying and we all took turns being with her. I watched the staff work. Their shifts seemed to me to be endlessly gruelling: changing the dressings on tunnelling bedsores, lifting, bathing, feeding, consoling. I witnessed so many acts of kindness.

TTQ - If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Meaghan - This is a tough one…“You can check your white gloves and straw bonnet at the door.”


*Note - Photo of Meaghan Strimas by Mark Tearle.



Free Counter
Free Counter

Friday, 4 February 2011

TTQ's Poem of the Week - (Week 14) - P.K. Page - Cullen in Old Age



P.K. Page is the author of more than a dozen books, including poetry, a novel, short stories, essays, and books for children. Awarded a Governor General’s Award for poetry (The Metal and the Flower) in 1954, Page was also on the shortlist for the Griffin Poetry Prize (Planet Earth) in 2003 and awarded the BC Lieutenant Governor’s Award for Literary excellence in 2004. P.K. Page died in January 2010. Her 2009 collection, Coal and Roses (Porcupine’s Quill), was posthumously nominated for the 2010 Griffin Poetry Prize.

Zalig Pollock, P.K. Page’s literary executor, says of her “Cullen” poems: “It is tempting to identify the protagonist…as a fictional self-portrait, if only because Cullen ages in parallel with the author, and shares many of her experiences. But perhaps it would make more sense to see Cullen as a fictional, and not uncritical, portrait of a fellow pilgrim through the journey.”

The following P.K. Page poem Cullen in Old Age was chosen by editors Lorna Crozier and Molly Peacock to be a part of the poetry anthology The Best Canadian Poetry 2010 (Tightrope Books, 2010).





Cullen in Old Age

Cullen, at ninety, curiously attired -
shorts and a frock coat, baseball cap and spurs -
symbols, he said, of a life he’d lived forever
and ever and ever – (or so it seemed from here -)
took it upon himself to marry again.
His grandchildren rose, protesting.
“Silly old fool,” they said, embarrassed.
“Give us a break.”

“What do they know? Just what do they know?” he said.
“Puerile passion is puerile passion. Mine
is the work of a lifetime, one that includes the stars
and the depths of hell. I offer my laden heart
filled with a multitude of moons and suns,
and clouds as dark as thunder. All are hers
to do with whatever she will. She is my love.”

“In for the money,” his children said, uneasy
about the girlfriend.
Far too pretty. And young.
“In for the money and in for the kill,” they said.
And wondered about his will.

When would he die? he questioned, unafraid
but interested.
There were all those friends
who had gone before, who knew what he didn’t know.
Life after death? Extinction? He would like
to know this ultimate riddle before he died.

The Gospels, of course said, yes, the soul survived.
But has anyone seen a soul? Deep in the eyes?
No one he knew, although he believed they’d tried
to weigh it, by weighing the body before it died
and immediately after death.
Like weighing smoke, he said, or weighing air.
“The king of nothing is nothing,” it seemed to prove.



An empty page, he thought, surveying his life. A palimpsest -
illegible images glimpsed when he squinted his eyes.



Cullen, in extreme old age could dream -
his best activity, the most exact
and most mind altering of all the drugs
he in his young and turbulent years had tried.
Clowns could appear, and queens, a whole parade
of children in paper hats, and dancing dogs.
Space could divide, like the Red Sea. As for time -
infinitely fracturable. Up or down.
Nanoseconds not in it. None could guess
how slow or fast that airy machine could travel
back or forward, or hover – a hummingbird.

He slept for a week, and obsequies were sung
in the heads of his heirs, and when he at last awoke,
pink as a baby and talking in strange tongues,
they wrote him off as crazy.
He was not.

On the stroke of four the Guardian Angel spoke
in pure Angelic, “Time, gentlemen, please.”
But Cullen, not yet packed, and deaf as a boot,
was far from ready or willing to shut up shop.

He was a fossil, they said, a has-been, he
had lost his Elgin marbles, poor old creep
but he gave them a look from his ice-blue eye that froze
the marrow within their bones. He said, “The world
has made of itself a carnal shop.” – A what?
“ ‘Sex and the Maiden,’ “ he said, “a Schubert song
that nobody knows today. Hip hop, hip hop.”
A long and agonized wail came out of his mouth.
The cats, as if scalded, ran, and the ancient dog
barked to protect the house.
Cullen, not ready to die, not quite alive
outlived his third wife. Had a vision of heaven.
Total immersion. Where? He couldn’t tell.
A floatation tank, perhaps, a void, a vast
container for single souls that gathered together
and merged in a giant soul that encircled the world
where everything came out even.
Linearity no longer a question, past
and future a part of time eternal.

Cullen slept, content, his life was spent
like a silver coin that slipped from a hole in a pocket.





Free Counter
Free Counter

Wednesday, 2 February 2011

Toronto Poets - 5 Questions Series - Priscila Uppal



Priscila Uppal is a Toronto poet, fiction writer and York University professor. Among her publications are eight collections of poetry, most recently, Ontological Necessities (2006, Exile Editions); was shortlisted for the $50,000 Griffin Poetry Prize, Traumatology (Exile Editions, 2010), Successful Tragedies: Poems 1998-2010 (Bloodaxe Books, U.K.), and Winter Sport: Poems (Mansfield Press, 2010); the critically-acclaimed novels The Divine Economy of Salvation (Anchor Canada, 2002) and To Whom It May Concern (Doubleday Canada, 2009); and the study We Are What We Mourn: The Contemporary English-Canadian Elegy (McGill-Queen’s University Press, 2009). Her work has been published internationally and translated into Croatian, Dutch, French, Greek, Italian, Korean and Latvian. She was poet-in-residence for Canadian Athletes Now during the 2010 Vancouver Olympic and Paralympic games. Time Out London recently dubbed her “Canada’s coolest poet.” For more information visit her website.

Priscila Uppal’s sixth collection of poetry Traumatology has been described as a playful, satirical, surreal, yet unflinchingly humane in its examination of our peculiar states of being. Uppal dares us to laugh at ourselves and the realities of our world. This collection is superbly written and reinforces to all who read her, that Priscila Uppal is indeed a major voice in the world of poetry today.


Restraining Order

My soul is forbidden to be
within 50 metres of my brain,
so it has purchased powerful
binoculars and hides
in bushes;
sends email spam
and candygrams.

My brain crouches and cries -
once it had trusted my soul
and they’d led a peaceful,
even pleasant, co-existence.

But the soul’s blunt teeth
started to show;
jealousy, rage, of all non-
spiritual thoughts and plights.

My brain is afraid to cross
in front of windows;
rarely picks up
the phone – the familiar
breathing too upsetting – plus

there are times old memories
are tricky to taunt.
Tonight it suspects
my soul is lurking by the water
fountain. It even has a poodle

in tow. My brain is lonely,
excruciatingly lonely, but
knows, at least, how to pleasure itself.
The restraining order pertains

to the soul, not
the body.





TTQ - How would you best describe the poems contained within Traumatology (Exile Editions, 2010)? Is there a common theme or message in this collection of poems that you were hoping readers could relate to? Do you have a favourite poem from the collection that stands out to you?

Priscila - Traumatology is my examination of notions of health (of body, mind, and spirit). The title signals that I concentrate mostly on the trauma of health debates, discussions, and experiences—those that contribute to increasingly high levels of anxiety. Many of the poems reflect an uncanny, absurdist, or surrealist experience of health in our contemporary world where food is the enemy, the body a test tube of chemicals, notions of the afterlife uninspiring. Readers have really been relating to the poems where health industry “experts” and common health theories are critiqued or satirized.

I think my favourite poem is “I Know My Uncle is Dead, But Why Isn’t He Taking Out the Garbage,” a poem that attempts to describe the uncanny experience of seeing a dead loved one performing their normal day-to-day actions, our inability to fully register the finality of death. This poem was included in the Translation Slam, the culminating event of the Montreal International literary festival Blue Metropolis, last year. Two French-Canadian writers translated the poem into French, and we discussed the choices each made as part of a very vibrant panel (I’ve discovered that the translation community in Canada is vocal, energetic, and thrives off debate). What I found fascinating was that each of the two translators, Hélène Rioux and Eric Dupont, tackled the poem by falling to one side of its emotional and generic spectrum: Rioux decided to stick close to the melancholic, mourning emotions of the poem, the elegy tradition, and Dupont decided to play off of the dark humour, absurdist elements of the poem, the satirical tradition. Dupont even set the poem to music, and his performance stressed buffoonery and melodrama. I loved both versions. Both understood the piece profoundly.

TTQ - Some have stated that you have brought a brand new voice to poetry. Would you concur with that assessment and do you feel it's imperative that poetry find "new voices" in order for it to regain some of its lost lustre over the years?

Priscila - I suppose it’s difficult to concur with a statement about the uniqueness of one’s voice, when it is your voice, not something you’ve consciously cultivated, but I am aware, sometimes painfully, that my poems do not fit neatly into any of our usual poetic categories for Canadian poets (for example, I’m not a nature poet, or an overtly feminist or multicultural poet—although I am both, or a language poet, or a concrete poet, or a regional poet, or a meditative poet or a spoken word poet). I’ve often been told that my voice is global, and would be welcomed by European audiences. I’ve been very privileged that the prestigious press Bloodaxe Books in the U.K. has released Successful Tragedies: Selected Poems 1998-2010 this past year, and I can report that the reviews have been absolutely rave, stressing the uniqueness of my voice and perspective, Time Out London even dubbing me “Canada’s coolest poet.” It has been satisfying to find such an appreciative audience in the U.K. for my work, especially since readers would likely never have read one of my poems before and are experiencing my body of work to-date as a whole. I think it’s important for readers to be able to access diverse poetry from a variety of traditions, in a variety of genres, and from a variety of nations, for poetry to remain a vibrant, controversial, and relevant art.




TTQ - What was your experience like at the Winter Olympics in Vancouver? What should readers expect from your Winter Sport: Poems (Mansfield Press, fall 2010)? Do you have a favourite moment from the Vancouver Olympics that has stuck with you?

Priscila - The book Winter Sport: Poems includes poems written as part of my self-designed gig as Canadian Athletes Now’s poet-in-residence during the 2010 Winter Olympic and Paralympic Games. It also includes some poems focusing on aboriginal sport written at the 2010 Arctic Winter Games in Grande Prairie, Alberta, in between the two competitions. All experiences were unique, invigorating, and truly inspiring. Essays about each of the games are included in the book. I was so privileged to be able to be with the athletes, their families and friends, and, as an artist, even more privileged to be welcomed to read poetry about winter sport and the games to this community who possess the most expert knowledge of all about the subject. The athletes loved the nightly poem recitals, and frequently asked me for copies of poems to give to friends and family and to teammates. The summer Olympians in the house were adamant that I accompany them to London in 2012 to write the summer poem companion, and I plan on it. For me, it is especially satisfying to support a group of very talented, extremely disciplined young people work tirelessly towards realizing their dreams. It was also extremely satisfying to introduce poetry to athletes and to bring sport poetry to the general public. I really feel I have made a significant contribution to sports and literary culture, and I can’t wait to do more to bridge the worlds of sport and art with future projects. I would love to be involved in the PanAm Games in 2015 to be held in Toronto.

TTQ - What is your opinion on the current state of poetry in Toronto? Who would be some of the Toronto poets that have caught your attention of late and you would recommend that people read them?

Priscila - I think the poetry scene is quite healthy in Toronto. We have a lot of reading series that either focus exclusively on poetry, or include poetry in their programming. We have a lot of graduate and undergraduate programs in creative writing with poetry workshops at York University (where I teach), University of Toronto, University of Guelph, Humber College, and elsewhere. There are a number of literary festivals, writing workshops, and community groups or organizations dedicated to promoting poetry and writers—I should mention one of my absolute favourites, a real model I think that other cities might want to emulate, Diaspora Dialogues, which offers free mentorship to emerging artists and mounts dozens of creative and unique multidisciplinary events per year. I can also tell you, that in my capacity as guest editor for the Best Canadian Poetry 2011 anthology, I have read hundreds and hundreds of poems published this year by Toronto-based poets. We occupy a significant place in the output of this country.

We do have one very specific void in Toronto, as far as I’m concerned, though: we are not doing enough in our school systems to cultivate the love of reading and writing poetry in elementary and secondary schools. The way that poetry is currently taught in the majority of our schools is, as is conveyed to me by students and teachers alike, uninspiring. I wish more teachers would make use of the writers-in-the-schools programs, as well as any writing workshops available to students, and that programming in our schools was more interdisciplinary and inventive. For instance, the vast majority of writers, when they are accessed by schools, are invited to read almost exclusively in English or Creative Writing classes. This conveys to students that literature has its place in a literature class and that’s it. I advocate the use of arts (all arts, but poetry as well), in all subject areas (science, math, geography, psychology, social studies, etc.), as this more accurately reflects why art is produced—to engage with all human modes of inquiry and experience.

In terms of specific people, there are a lot of amazing poets in Toronto: Gil Adamson, Ken Babstock, Kevin Connolly, Christopher Doda, Bill Kennedy, David Seymour, Karen Solie, Stuart Ross, Meaghan Strimas, and more. As for young poets just entering the poetry scene, I would recommend Leigh Nash and Andrew Faulkner, who run the chapbook press The Emergency Response Unit as both poets to watch. Leigh Nash just released her first book of poetry, Goodbye, Ukulele, and Andrew Faulker, who has published extensively in journals in the past year. There is also Abede De Rango-Adem, whose first collection of poetry, Ex Nihilo, was nominated for the Dylan Thomas Prize, the largest prize in the world for writers under thirty. She is a very socially-conscious poet, who has also co-edited the recently-released anthology Other Tongues: Mixed Race Women Speak Out.

Ten Part Question - The Pivot Questionnaire

TTQ - What is your favourite word?

Priscila - Sabbatical.

TTQ - What is your least favourite word?

Priscila - Barrier.

TTQ - What turns you on creatively, spiritually or emotionally?

Priscila - Motion.

TTQ - What turns you off?

Priscila - Pettiness.

TTQ - What is your favourite curse word?

Priscila - Asshole. I use it often. And well.

TTQ - What sound or noise do you love?

Priscila - Purring.

TTQ - What sound or noise do you hate?

Priscila - Ring tones. Message alerts.

TTQ - What profession other than your own would you like to attempt?

Priscila - Pole-vaulter.

TTQ - What profession would you not like to do?

Priscila - Toronto Maple Leafs complaints department.

TTQ - If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Priscila - “You told me so.”


*Note – Photo of Priscila Uppall was taken by Daniel Ehrenworth.





Free Counter
Free Counter