Always read the notes first. The final pages of Lauren Turner’s debut collection The Only Card in a Deck of Knives state “This is not a memoir but an imperfect gathering of personal thoughts.” Imperfection—the blemish that reveals mystery—is poetry, or as Joy Harjo writes, “where there are no mistakes, there is no poetry.” Turner’s post-text warning also includes an admonition from Björk: “don’t let poets lie to you.”
After being knocked out by Catherine Hunter’s astonishing novel After Light, I was craving her new collection of poetry, and there is no doubt that St. Boniface Elegies shows the poet at the height of her powers. These poems tease out the shape of doubt in contemporary life, with lyrical leaps onto the comet-trails of questions about love, death, and memory.
In 2017, pink pussy hats became a divisive piece of protest apparel at Women’s Marches around the world. GUSH: Menstrual Manifestos for Our Times, with its pink-toned cover and bold alliterative title, captures the same outspoken energy and political zeal as hatted protestors unabashedly chanting for bodily autonomy. But its contents delve far deeper than knitted hats ever could.
an excerpt from
Reparative Strategies: An Interview with Di Brandt
I met with Di Brandt on April 6, 2006, in the Academy Caf&#eacute; in Winnipeg, a few days after hearing her read from her new series of poems, “Nine River Ghazals.” Brandt has been working with the ghazal form since “Dog Days in Maribor” in her Griffin-nominated [_Now You Care_], and because I had just included “Dog Days” in [_Speaking of Power_], a selected works of Brandt’s poetry published by Wilfrid Laurier University Press, I wanted to ask about her use of the form….