In this brilliant collection, Governor General's Award-winning poet Erin Moure tests the boundaries of tenderness, grace, speech, sexual feeling, and a book's ability to frame or hold the person. With her typical wit and textual play, Moure breaks the codes of language to reveal the carnality and torsional power of words. Her lines and frames uncover shadow meanings, highlight syllables as marks, and expose the abrasion, erasure, gaps, and cries that infuse a wordliness in all acts, all human bearing.
Erin Moure's third collection of poetry confirmed her reputation as a major Canadian poet. She writes of the Canadian West, the railroad, the abrasions of love and politics, the miracle of words and ordinary places -- with special emphasis on the hearts, minds, and voices of women.
Erin Moure traces a woman's poetic trajectory through the instability of any search and any procedure. Everything touched upon is called into question as Moure explores the limits of our notions of language, and plays with the power of words to convey meaning or intelligibility, as well as their fallibility.
The Elements is a family book, a thinker’s biography in poetry, and a polylingual homage. Poems about and for Moure’s late father — accepting his dementia as a real way of thinking “world” and “self” in a struggle against invasive powers — are braced alongside poems invoking the struggle of Galician peasants against the invasion of the armies of Napoleon. It is a book about tenderness, and about The Good, in the face of destructions. By celebrating our ability to think and to revolt, it defends the human pull toward happiness and sovereignty, toward life, toward living. “The infinitely transmissible,” it says, “demands this polyvalent body.”
The Elements is a family book, a thinker’s biography in poetry, and a polylingual homage. Poems about and for Moure’s late father — accepting his dementia as a real way of thinking “world” and “self” in a struggle against invasive powers — are braced alongside poems invoking the struggle of Galician peasants against the invasion of the armies of Napoleon. It is a book about tenderness, and about The Good, in the face of destructions. By celebrating our ability to think and to revolt, it defends the human pull toward happiness and sovereignty, toward life, toward living. “The infinitely transmissible,” it says, “demands this polyvalent body.”
The fifth volume of The Griffin Poetry Prize Anthology includes selections from the books shortlisted for the 2005 Griffin Poetry Prize, chosen by the jurors: UK poet Simon Armitage, Governor General's Award winner Erin Moure, and Slovenian poet Tomaz Salamun. Royalties from the anthology are donated to UNESCO's World Poetry Day.
In this brilliant collection, Governor General's Award-winning poet Erin Moure tests the boundaries of tenderness, grace, speech, sexual feeling, and a book's ability to frame or hold the person. With her typical wit and textual play, Moure breaks the codes of language to reveal the carnality and torsional power of words. Her lines and frames uncover shadow meanings, highlight syllables as marks, and expose the abrasion, erasure, gaps, and cries that infuse a wordliness in all acts, all human bearing.
Erin Moure traces a woman's poetic trajectory through the instability of any search and any procedure. Everything touched upon is called into question as Moure explores the limits of our notions of language, and plays with the power of words to convey meaning or intelligibility, as well as their fallibility.
In Kapusta, Moure performs silence on the page and aloud, writing "gesture" and "voice" to explore the relation between responsibility and place, body, and memory, sorrow and sonority. Here, poetry flourishes as a book "beyond the book," in a space of performance that starts and stops time. In Little Theatres, Ern Moure's avatar Elisa Sampedrn first spoke about theatre and the need for smallness in order to articulate what is huge. Sampedrn, who reappears in the translation mystery O Resplandor as the translator of a language she does not speak, vanishes later in The Unmemntioable when the split in human identity that results from war and displacement is acknowledged. Now, in Kapusta, the character E. is alone, in the smallest of spaces - the bench behind her grandmother's woodstove in Alberta. Here, E. struggles to face the largest of historical and imagined spaces - the Holocaust in Western Ukraine, and to understand her mother's silence at the sadness of her forebears, her "salt-shaker love.
Erin Moure's third collection of poetry confirmed her reputation as a major Canadian poet. She writes of the Canadian West, the railroad, the abrasions of love and politics, the miracle of words and ordinary places -- with special emphasis on the hearts, minds, and voices of women.
When asked the question "what is the power of poetry?," writer Ian Williams said "poetry punctures the surface." Williams' statement—that poetry matters and that it does something—is at the heart of this book. Building from this core idea that poetry perforates the everyday to give greater range to our lives and our thinking, the practical and pedagogical aim of this book is twofold: the first aim is to provide students with an introduction to the key cultural, political, and historical events that inform twentieth- and twenty-first-century Canadian poetry; and to familiarize those same readers with poetic movements, trends, and forms of the same time period. This book addresses the aesthetic and social contexts of Canadian poetry written in the twentieth and twenty-first centuries: it models for its readers the critical and theoretical discourses needed to understand the contexts of literary production in Canada. Put differently, readers need a sense of the "where" and "how" of poetic production to help situate them in the "what" of poetry itself. In addition to offering a historically contextualized overview of the significant movements, developments, and poets of this time period, this book also familiarizes readers with key moments of reflection and rupture, such as the effects of economic and ecological crisis, global conflicts, and debates around appropriation of culture. This book is built on the premise that poetry in Canada does not happen outside of political, social, and cultural contexts.
The poetry in Furious is charged with Mours characteristic energy and wit as she explores the limits of pure reason and the language of power. There is, too, a fresh and often celebratory look at love, and, in an unusual finale, The Acts, Mour challenges us to explore a feminist aesthetic: of thinking, of the page, of working life, and the possibility of poetry.
My Beloved Wager gathers essays by noted poet and translator ErA-n Moure, and records a quarter century of writing practice emerging from a city of exhilarating poetic and translatory possibility: Montreal. In her essays and linguistic-sculptural interventions on what poetry makes possible, Moure reveals why she has placed her bets on poetry as a way of life. In these works, the richness of poetry is laid bare as Moure challenges us to think more deeply about who we are as speakers, readers, writers, and citizens of the world.
This brilliant collection explores the idea that the act of reading is a practice of embodiment, containing all the experiences of the body itself: love, splendor, travel, doubling, and loss. The "resplandor" of the title refers to the radiance of the body when the language of the book flows into ears and eyes. As Moure explains, "We call this moment 'reading,' and in reading we stop and reverse time, explode geographies, inhabit others, and resurrect ourselves." In unexpected ways — through impossible translation, anachronistic journeys, and a fictional mystery that involves a search for a translator who exists only in the future beyond the book itself — O Resplandor confounds notions of authorship and translation, all while conveying the clamor over love and loss. Richly challenging and charged with Erín Moure's distinctive energy, this is a work about the powerful light contained in the human body, in translation, and in poetry.
The fifth volume of The Griffin Poetry Prize Anthology includes selections from the books shortlisted for the 2005 Griffin Poetry Prize, chosen by the jurors: UK poet Simon Armitage, Governor General's Award winner Erin Moure, and Slovenian poet Tomaz Salamun. Royalties from the anthology are donated to UNESCO's World Poetry Day.
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