Podcasts about canadian poetry

THREE poets read and talk about their poems from Best Canadian Poetry 2024! Nicholas Bradley discusses an atmospheric river. Matt Rader explores heat domes. Joanna Streetly searches the depths. It's a powerful set of chats! -- Nicholas Bradley lives in Victoria, BC. He is the author of two books of poetry: Rain Shadow (University of Alberta Press, 2018) and Before Combustion (Gaspereau Press, 2023). He teaches in the Department of English at the University of Victoria. Matt Rader lives in Kelowna, BC. He's the author of five collections of poems, most recently, Ghosthawk (Nightwood, 2021). He teaches Creative Writing at the University of British Columbia, Okanagan. Joanna Streetly has lived on the west coast of Vancouver Island since 1990. She is the published author of four books and has been listed for the FBCW Literary Writes Poetry Contest, the Canada Writes Creative Non-fiction Prize, and The Spectator's Shiva Naipaul award. Her work appears in the literary magazines, anthologies, and Best Canadian Essays 2017. From 2018-2020, she was the inaugural Tofino Poet Laureate. -- Andrew French is an author from North Vancouver, British Columbia. They have published two chapbooks, Poems for Different Yous (Rose Garden Press, 2021) and Do Not Discard Ashes (845 Press, 2020). Andrew holds a BA in English from Huron University College at Western University and an MA in English from UBC. They write poems, book reviews, and host this very podcast.

In which Patrick lectures by himself about a poet whose work, Acanthus & Wild Grape, actively tried to bring Canadian poetry into the realm of modern sensibilities. --- Support: Patreon (https://www.patreon.com/historiacanadiana); Paypal (https://www.paypal.com/paypalme/historiacanadiana); recommended reading (https://historiacanadiana.wordpress.com/books/) --- Contact: historiacanadiana@gmail.com; Facebook (https://www.facebook.com/CanLitHistory). --- Sources/Further Reading Avrum Malus, Diane Allard and Maria Van Sundert. “Frank Oliver Call, Eastern Townships Poetry, and the Modernist Movement,” Canadian Literature 107, 1985. Call, Frank Oliver. Acanthus & Wild Grape, McClelland & Stewart, 1920. Trehearne, Brian (editor). Canadian Poetry, 1920 to 1960, McClelland & Stewart, 2010. Beattie, Munro. “Poetry: 1920-1935.” Literary History of Canada: Canadian Literature in English (Second Edition) Volume II, edited by Alfred G. Bailey et al., University of Toronto Press, 1976, pp. 234–53.

This conversation is all about finding yourself and loving all parts of you. Most importantly, this week's conversation is joined by the wonderful and joyous Shakkoi Hibbert a.k.a. Koi (Need Some Koi). I can't stress to you how much I enjoyed this conversation, and so will you!Koi is an Art Practitioner, and three-time author, and excels in spoken word poetry performance, facilitation, and dance instruction. Starting her journey back a RISE Edutainment event, she continues to crave her own story through emotional storytelling, a loving personality, and being a superstar in facilitating her style of positivity to others. Fresh off the release of her latest book "Poems Of Pain And Power" (#1 Best Selling in African Poetry, #1 Best Selling Caribbean & Latin American Poetry, #1 in Hot New Releases in Poetry, and #1 in Hot New Releases in Canadian Poetry), Koi is moving on up another echelon. We go over Koi's remarkable journey, unlocking her vulnerable moments which led to her blossoming, the process of writing her third and final book, as well as tapping into your self-expression. From every laugh, tear, and snap, you can feel the emotion in one of my favorite interviews to this date.Timestamps:1:01 - Welcome Koi To The Safe Room!2:57 - Hot Seat Segment14:28 - Unlock Koi's Vulnerability Getting Into Poetry20:21 - Where Did “Everybody Needs Some Koi In Their Life” Originate?26:55 - Koi Explains How She Shares Her Story With New Audiences31:28 - Discussing Koi's New Book “Poems of Pain And Power”44:26 - Should I Drop A Conceptual Album Soon?45:43 - How To Tap Into Self-Expression For Yourself?55:16 - ConclusionFollow Koi at @needsomekoi on all social media platforms (Instagram, Facebook, and TikTok)Visit Koi's website for more information: https://www.needsomekoi.com/________________________________________________________________________________________________Business Inquiries: thesaferoomtoronto@gmail.comFollow the podcast on Spotify and Apple Podcasts. Leave a review and 5 stars!Instagram & TikTok: @thesaferoomofficialLinkedIn Page: The Safe RoomSubscribe to our YouTube channel!Intro & Outro: Shon Williams - First Lady

Jake and Blake take you on a walk through the first snowfall of winter to the soundtrack of The Weakerthans. With sprinkles of Canadiana, a triumvirate of songs in iambic pentameter, and a track from the perspective of a cat, John K. Samson is at his absolute best on Reconstruction Site, the band's 2003 album that directly inspired the next wave of emo-pop and many in the emo revival. Find out more about Samson's love-hate relationship with Winnipeg, his quest to reclaim Neil Young's honour, and where Jake ranks Samson among the greatest living song writers on this week's podcast. Sick of hearing all the ads? Subscribe to Soda Premium on Apple Podcasts to get rid of them!Come join the Patreon family for bonus episodes, mailbags, show notes and even more goodness: https://www.patreon.com/columbiahousepartyFollow @ColumbiaHP on Twitter! While you're there say hello to @BlakeMurphyODC and @JGoldsbie. If merch is your thing, be sure to check out the store: http://bit.ly/chpmerch Or reach out to the show and say hey: podcast@columbiahouseparty.com If you enjoyed today's show, please rate Columbia House Party 5-Stars on Apple Podcasts.See you next week for an all new episode of CHP.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4114831/advertisement

Can people calm down about Target?

In the summer of 2022, research assistants Don Shipton and Teddie Brock took part in a roundtable discussion that explored the archival work of student researchers involved with the audio archives of Canadian poet, Fred Wah. Alongside his literary and academic work, Wah has had a longstanding practice of recording poetry readings, lectures, and conversations, documenting key moments in North American poetry.This sonic-archival meditation highlights the impact of recording technology on the trajectory of poetic circulation and composition, as it brings together the ‘many voices' that constituted Wah's listening and recording practices as a young poet. The first part of this episode will revisit a recording of Wah's conversation with Deanna Fong, co-director of the Fred Wah Digital Archive, in which Wah reflects on the significance of portable tape recording to literary community-building and the development of a poetic ‘voice.' The episode will also present a selection of archival clips documenting the poets whose recorded voices Wah encountered throughout the 1960s, including Charles Olson, Louis Zukofsky, Denise Levertov, and Ed Dorn, among others.Special thanks to Kate Moffatt and Miranda Eastwood for their production support in the making of this episode, and to Simon Fraser University's Special Collections and Rare Books for hosting the “Mountain Many Voices” roundtable event.

“The Night of the Living Archive” is an audio drama/mock interview between research assistant Liza Makarova and Fred Wah's poems Mountain (1967), Limestone Lakes Utaniki (1987, 1989, and 1991), and Don't Cut Me Down (1972), which currently live in the Fred Wah Digital Archive (fredwah.ca). Poems within the archive are independent documents that live incredibly interesting lives that are celebrated within this episode. Over a series of three interviews, Liza invites these poems, drifting in “the Great Universal Archive,” to speak about their existence in the digital realm. These poems are given the opportunity to speak their minds  on topics such as how digital archives are treated, the poems' complex histories, and their relationships with each other on a literal and literary level.This episode will also present excerpts of Fred Wah's archive of audio recordings, ranging from his 1979 Poetry Reading Series to an interview which aired at a literary arts radio show in Calgary. As an artist, educator, and writer, Wah has built an incredible social network throughout generations through his poetry, which has the capacity to tell its own story.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producer:kurichkaaa (liza makarova) is an interdisciplinary artist, experimental playwright, and poet currently based on earth. kurichkaaa writes about love and grief, lesbians and communism, and how to empower people to feel hopeful about the future. they have read for the flywheel reading series by the literary magazine filling Station and will soon be published in The Capilano Review. They are in the process of developing a script with Playwright's Workshop Montreal. Works Cited:In For Instance Radio Show: Literary Arts Program Interviewing Fred Wah, https://fredwah.ca/node/431Poetry Reading - March 8, 1979, https://new.fredwah.ca/node/438Fred Wah: Classroom Conversation on March 9, 1979Wah, Fred. Mountain. Buffalo, NY: Audit/East-West, 1967. Print.https://fredwah.ca/content/mountainWah, Fred. Limestone Lakes Utaniki. Red Deer, AB: Red Deer College P, 1989. Print.https://fredwah.ca/content/limestone-lakes-utanikiWah, Fred."Limestone Lakes Utaniki." Karabiner: the Journal of the Kootenay Mountaineering Club 30 (1987): 9-12. Print. https://fredwah.ca/content/karabiner-journal-kootenay-mountaineering-club-30Wah, Fred. “Limestone Lakes Utaniki” So Far. Vancouver: Talonbooks, 1991. Print.https://fredwah.ca/content/so-farWah, Fred. “Don't Cut Me Down” Tree. Vancouver: Vancouver Community, 1972. Print.https://fredwah.ca/content/tree

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode. If you are a SpokenWeb RA with an archival clip to feature on ShortCuts, do write to us at spokenwebpodcast@gmail.com with your pitch. Host and Series Producer: Katherine McLeodSupervising Producer: Kate MoffattAudio Engineer / Sound Designer: Miranda EastwoodProduction Manager and Transcriber: Kelly CubbonARCHIVAL AUDIOCheck the transcript for the timestamps for where this audio appears in the episode and for a map for all of the sounds. Here is a list with links for finding out more about these archival recordings.Katherine McLeod, from ShortCuts 3.1 “Sounds”: https://spokenweb.ca/podcast/episodes/sounds/Katherine McLeod, from ShortCuts 3.9 “Re-Situating Sound”: https://spokenweb.ca/podcast/episodes/re-situating-sound/Archival audio, Dionne Brand, 1988 reading, from ShortCuts 3.3 “Communal Memories”: https://spokenweb.ca/podcast/episodes/communal-memories/Archival audio: Douglas Barbour, from Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Leona Gom at the University of Alberta, February 21, 1980; Douglas Barbour, from John Newlove at the University of Alberta, March 19, 1981 — all from ShortCuts 3.6 “Listening Communities: The Introductions of Doug Barbour” (guest produced by Michael O'Driscoll): https://spokenweb.ca/podcast/episodes/listening-communities-the-introductions-of-douglas-barbour/Archival audio, Daphne Marlatt, 1970, from ShortCuts 3.4 “Sonic Passages”: https://spokenweb.ca/podcast/episodes/sonic-passages/ Daphne Marlatt interview with Karis Shearer and Megan Butchart played on “SoundBox Signals presents Performing the Archive” an episode of SoundBox Signals that was aired on The SpokenWeb Podcast (co-produced by Karis Shearer, Megan Butchart, and Nour Sallam), clipped on ShortCuts 3.4: https://spokenweb.ca/podcast/episodes/sonic-passages/Interview with Kelly Cubbon, “Talking Transcription: Accessibility, Collaboration, Creativity,” (co-produced by Kelly Cubbon and Katherine McLeod), S3E9 The SpokenWeb Podcast, June 2022: https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/Interview with Kaie Kellough, ShortCuts 3.5 “The Voice that is the Poem”: https://spokenweb.ca/podcast/episodes/the-voice-that-is-the-poem-ft-kaie-kellough/Archival audio, Oana Avasilichioaei, from ShortCuts 3.8: https://spokenweb.ca/podcast/episodes/the-event/Archival audio, bpNichol, November 1968, from ShortCuts 3.2: “What the Archive Remembers”: https://spokenweb.ca/podcast/episodes/what-the-archive-remembers/Archival audio, Phyllis Webb, from ShortCuts 3.7 “Moving, Still”: https://spokenweb.ca/podcast/episodes/moving-still/

"Sonnet's Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean. And at the time there were conversations about appropriative poets where there were specific instances of pretty shady power dynamics around certain poets taking certain texts and presenting them as their own and saying, 'This is just an appropriative poetics move.' And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian and in rooms where, classrooms where, playgrounds where, churches where, certain signifiers of difference would make fitting in harder.One tries very hard. At least I did as a child to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?”Sonnet L'Abbé is a Canadian poet, songwriter, editor and professor. They are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. Sonnet's Shakespeare was a Quill and Quire Book of the Year. In 2014 they edited the Best Canadian Poetry in English anthology. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapbook Award. They teach Creative Writing and English at Vancouver Island University, and are a poetry editor at Brick Books.https://www.instagram.com/sonnetlabbe/https://www.poetryfoundation.org/harriet-books/2017/12/tree-i-invented-a-new-form-of-poemwww.creativeprocess.info www.oneplanetpodcast.org

"Sonnet's Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean. And at the time there were conversations about appropriative poets where there were specific instances of pretty shady power dynamics around certain poets taking certain texts and presenting them as their own and saying, 'This is just an appropriative poetics move.' And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian and in rooms where, classrooms where, playgrounds where, churches where, certain signifiers of difference would make fitting in harder.One tries very hard. At least I did as a child to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?”Sonnet L'Abbé is a Canadian poet, songwriter, editor and professor. They are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. Sonnet's Shakespeare was a Quill and Quire Book of the Year. In 2014 they edited the Best Canadian Poetry in English anthology. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapbook Award. They teach Creative Writing and English at Vancouver Island University, and are a poetry editor at Brick Books.https://www.instagram.com/sonnetlabbe/https://www.poetryfoundation.org/harriet-books/2017/12/tree-i-invented-a-new-form-of-poemwww.creativeprocess.info www.oneplanetpodcast.org

"You know, when we were in undergrad, gender or orientation around being bi or straight or gay was what we felt empowered to explore. And that even as a person who at that point was like, Okay, I'm a girl and find myself desiring people with penises, that means I must be straight, right? I wouldn't have questioned anything other than like, Well, if I have this body, and I desire that kind of body, then I am straight, but in undergrad you could still make out with a girl and be like, I'm just experimenting, but now it seems to me that the opportunity to ask oneself about one's own gender is there. And the more I learned about fluidity, the more I thought about my own relationship to the pronouns that I've grown up with, the more I was like, I think that these other pronouns really more accurately express how I've lived most of my life. So 'they' feels deeply right for me now."Sonnet L'Abbé is a Canadian poet, songwriter, editor and professor. They are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. Sonnet's Shakespeare was a Quill and Quire Book of the Year. In 2014 they edited the Best Canadian Poetry in English anthology. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapbook Award. They teach Creative Writing and English at Vancouver Island University, and are a poetry editor at Brick Books.https://www.instagram.com/sonnetlabbe/https://www.poetryfoundation.org/harriet-books/2017/12/tree-i-invented-a-new-form-of-poemwww.creativeprocess.info www.oneplanetpodcast.org

"One of the first songs that I wrote was - I was asked to write poetry for a little show that was Poets Respond to Music. And we were given a Pretenders album and my song was Thumbelina, and so I said, "Well, how about I respond with a song instead of a poem?" And so I wrote this song. And making decisions that are about vowel sounds and repetition was new to me because whenever I write poetry, I still do read it aloud to listen to how it sounds, but it's not quite the same as composing the sound in the moment."Sonnet L'Abbé is a Canadian poet, songwriter, editor and professor. They are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. Sonnet's Shakespeare was a Quill and Quire Book of the Year. In 2014 they edited the Best Canadian Poetry in English anthology. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapbook Award. They teach Creative Writing and English at Vancouver Island University, and are a poetry editor at Brick Books.https://www.instagram.com/sonnetlabbe/https://www.poetryfoundation.org/harriet-books/2017/12/tree-i-invented-a-new-form-of-poemwww.creativeprocess.info www.oneplanetpodcast.org

"Sonnet's Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean. And at the time there were conversations about appropriative poets where there were specific instances of pretty shady power dynamics around certain poets taking certain texts and presenting them as their own and saying, 'This is just an appropriative poetics move.' And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian and in rooms where, classrooms where, playgrounds where, churches where, certain signifiers of difference would make fitting in harder.One tries very hard. At least I did as a child to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?”Sonnet L'Abbé is a Canadian poet, songwriter, editor and professor. They are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. Sonnet's Shakespeare was a Quill and Quire Book of the Year. In 2014 they edited the Best Canadian Poetry in English anthology. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapbook Award. They teach Creative Writing and English at Vancouver Island University, and are a poetry editor at Brick Books.https://www.instagram.com/sonnetlabbe/https://www.poetryfoundation.org/harriet-books/2017/12/tree-i-invented-a-new-form-of-poemwww.creativeprocess.info www.oneplanetpodcast.org

"Sonnet's Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean. And at the time there were conversations about appropriative poets where there were specific instances of pretty shady power dynamics around certain poets taking certain texts and presenting them as their own and saying, 'This is just an appropriative poetics move.' And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian and in rooms where, classrooms where, playgrounds where, churches where, certain signifiers of difference would make fitting in harder.One tries very hard. At least I did as a child to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?”Sonnet L'Abbé is a Canadian poet, songwriter, editor and professor. They are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. Sonnet's Shakespeare was a Quill and Quire Book of the Year. In 2014 they edited the Best Canadian Poetry in English anthology. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapbook Award. They teach Creative Writing and English at Vancouver Island University, and are a poetry editor at Brick Books.https://www.instagram.com/sonnetlabbe/https://www.poetryfoundation.org/harriet-books/2017/12/tree-i-invented-a-new-form-of-poemwww.creativeprocess.info www.oneplanetpodcast.org

SUMMARYEpisode 10 of the SpokenWeb Podcast – “starry and full of glory”: Phyllis Webb, in Memoriam (produced by Stephen Collis) – is a moving commemoration of the life and work of Canadian poet Phyllis Webb. Along with archival clips, the episode features conversations with two poets – Isabella Wang and Fred Wah – in which they talk about an unpublished poem of Webb's. Listen to this replay of ShortCuts Ep. 3.7 “Moving, Still” and then, listen to Collis's episode about Webb as a collective listening. What does the archive remember?  EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Series Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Kate MoffattAudio Engineer / Sound Designer: Miranda EastwoodARCHIVAL AUDIOPhyllis Webb reading (with Gwendolyn MacEwen) in Montreal on November 18, 1966, https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka.ShortCuts 2.7: Moving, 19 April 2021, https://spokenweb.ca/podcast/episodes/moving.RESOURCESCollis, Stephen. Almost Islands: Phyllis Webb and the Pursuit of the Unwritten. Talonbooks, 2018.McLeod, Katherine. “Listening to the Archives of Phyllis Webb.” In Moving Archives. Ed. Linda Morra. Wilfrid Laurier University Press, 2020. 113-131.Webb, Phyllis. Naked Poems. Periwinkle Press, 1965.Webb, Phyllis. Peacock Blue: The Collected Poems. Ed. John Hulcoop. Talonbooks, 2014. 

This episode is a commemoration of the life and work of Canadian poet Phyllis Webb (1927-2021). Drawing upon archival recordings of Webb's readings, poet Stephen Collis, a friend of Webb's, charts a path through the poet's work by following the “stars” frequently referred to in her poetry—from the 1950s through the 1980s. Included in the podcast are two interviews, discussing specific poems, with former Canadian Parliamentary Poet Laureate Fred Wah, and poet Isabella Wang, with whom Collis discusses a recorded reading of an unpublished, uncollected poem.Special thanks to Kate Moffatt for her production support in the making of this episode, and to Simon Fraser University's Special Collections and Rare Books and Library and Archives Canada for the archival recordings featured.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producer:Stephen Collis is the author of a dozen books of poetry and prose, including The Commons (2008), the BC Book Prize winning On the Material (2010), Once in Blockadia (2016), and Almost Islands: Phyllis Webb and the Pursuit of the Unwritten (2018)—all published by Talonbooks. A History of the Theories of Rain (2021) was a finalist for the Governor General's Award for poetry, and in 2019, Collis was the recipient of the Writers' Trust of Canada Latner Poetry Prize. He lives near Vancouver, on unceded Coast Salish Territory, and teaches poetry and poetics at Simon Fraser University. Works Cited:Camus, Albert. The Myth of Sisyphus and Other Essays. Trans. Justin O'Brien. New York: Knopf, 1961.Duncan, Robert. Quoted in Thom Gunn, “Adventurous Song: Robert Duncan as Romantic Modernist.” The Three Penny Opera no. 47 (Autumn 1991): 9-13.Keats, John. Letter to George and Tom Keats, 21 December 1817. https://www.poetryfoundation.org/articles/69384/selections-from-keatss-lettersLibrary and Archives Canada. Item: Webb, Phyllis - Library and Archives Canada (bac-lac.gc.ca)Robinson, Erin. Wet Dream. Kingston: Brick Books, 2022.Webb, Phyllis. Peacock Blue: The Collected Poems of Phyllis Webb. Ed. John Hulccop. Vancouver: Talonbooks, 2014. 

Susan is the author of seven books of poetry from Signal Editions of Véhicule Press: Complicity (1983, o.p.), The Power to Move (1986, o.p.), Henry Moore's Sheep and Other Poems (1990), Hide & Seek (1995), Running in Prospect Cemetery: New & Selected Poems (2004), The Smooth Yarrow (2012), and What We Carry (2019). Her next collection of poetry, Cathedral/Grove, is due out in 2023. Susan has received Canada Council, Ontario Arts Council, and Toronto Arts Council Awards in poetry, fiction, and non-fiction, and published poetry, short stories, essays and book reviews in many periodicals including Arc, Brick, Canadian Literature, Essays in Canadian Writing, The Fiddlehead, Grain, The Journal of Canadian Poetry, The New Quarterly, Prairie Fire, and Maisonneuve. Her work has been widely anthologized and some of her poetry has been translated into French. She attended art school at Central Tech in Toronto from 2015-2019. The background image for this website is a large acrylic painting called “Glen Huron.” Here are a other few pieces in different media; there is a new section to this website titled “Art” if you want to see more. Making art, as with writing, she loves to observe things minutely. There are two things Susan particularly likes about the visual arts, however: they use the whole body, and they are quiet. You can read more about Susan and her many other publications here. The poem you heard today can be found in The Smooth Yarrow (2012), published by Véhicule Press. As always, we would love to hear from you. Have you tried send me a message on the Eh Poetry Podcast page yet? Eh Poetry Podcast Music by ComaStudio from Pixabay --- Send in a voice message: https://anchor.fm/ehpoetrypodcast/message

Join legendary Canadian poet bill bissett this week on Metacösm. Deemed The Godfather of Canadian Poetry, bill bissett is a prolific artist whose writing and painting span seven decades. In that time bill has published over seventy books as well as created countless paintings and albums of music, has performed hundreds of readings, ran blewointment magazine and blewointment press, was the subject of documentaries, was persecuted for his work by conservative politicians, received support from Jack Kerouac, Allen Ginsberg, Margaret Atwood, Leonard Cohen, and bpNichol, was sampled by The Chemical Brothers, has been an advocate for gay rights, women's rights, and the environment, and so much more. His writing, which is lyrical at heart and employs a style often described as unconventional, employs purposeful misspelling, visual and auditory elements, and focuses on love, pain, death, politics, sex, longing, beauty, and an attempt to make sense of the senselessness of this world. He is a true artist. In this episode our host Brad Casey pieces together several recordings done with bill over the last seven years, beginning in 2014 when he contacted bill to do a formal interview on his life, an interview which became lost. Since then Brad has conducted several informal interviews with bill, the latest being in late 2021, and pieced together clips from all of these interviews to create this episode which serves primarily as a portrait of Bill Bissett but also a tribute to the friendship that has grown between bill and Brad over those years.

In which we start talking about the 1869-70 Métis resistance that led to the creation of Manitoba and represented many of the issues that Canada still faces today. --- Contact: historiacanadiana@gmail.com, Twitter (@CanLitHistory) & Facebook (https://www.facebook.com/CanLitHistory). --- Support: Patreon (https://www.patreon.com/historiacanadiana); Paypal (https://www.paypal.com/paypalme/historiacanadiana); the recommended reading page (https://historiacanadiana.wordpress.com/books/) --- Sources & Further Reading Bumsted, J.M. Reporting the Resistance: Alexander Begg and Joseph Hargrave on the Red River Resistance, University of Manitoba Press, 2003. Métis List of Rights https://www.edu.gov.mb.ca/k12/cur/socstud/foundation_gr6/blms/6-1-2a.pdf Mair, Charles. “The Bison,” Canadian Poetry from the Beginning Through the First World War, 2010. Mair, Charles. Dreamland and Other Poems, Dawson Brothers, 1868. https://books.google.ca/books?id=H7BcAAAAcAAJ&printsec=frontcover#v=onepage&q&f=false Morton, W. L. “Two Young Men, 1869: Charles Mair and Louis Riel”, Manitoba Historical Society, Number 30, 1973-74. ‘Declaration of the People...', http://www.mhs.mb.ca/docs/pageant/09/rupertslanddeclaration.shtml Teillet, Jean. The North-West Is Our Mother, Patrick Crean Editions, 2019.

Souvankham Thammavongsa, Kayla Czaga, Ottavia Paluch, Jan Zwicky, and Tina Do each join Andrew for an interview about their involvement in Best Canadian Poetry 2021! Five interviews in one episode? What a treat! ----- Listen to more episodes of Page Fright here. Follow the podcast on Twitter here. Follow the podcast on Instagram here. ----- Andrew French is an author from North Vancouver, British Columbia. He has published two chapbooks, Do Not Discard Ashes (845 Press, 2020) and Poems for Different Yous (Rose Garden Press, 2021). Andrew has a BA in English from Huron University College at Western University and an MA in English from UBC. He writes poems, book reviews, and hosts this very podcast.

Today, we are welcoming you to Season 3 by reintroducing and replaying an episode that exemplifies what our podcast is all about. In January 2020, we released the episode “The Agony and the Ecstasy of Elizabeth Smart” created by researcher and producer Myra Bloom. To kick off this season, Hannah and Myra sat down for a new introductory conversation that puts Myra's past episode in the context of the SpokenWeb project's values and Myra's forthcoming podcast series. Then, we invite you to listen to the voice of Elizabeth Smart again, or for the first time, and consider what caring for and sharing the sounds of literary archives means to you. Over the years, Elizabeth Smart's 1945 novel By Grand Central Station I Sat Down and Wept has risen from obscurity to cult classic. The book, which details an ill-fated love affair between an unnamed narrator and her married lover, is celebrated for its lyricism, passionate intensity, and its basis in Elizabeth's real-life relationship with the poet George Barker. After publishing By Grand Central Station, Smart lapsed into a thirty-year creative silence during which time she worked as an advertising copywriter and single-parented four children. In this poetic reflection, Myra Bloom weaves together archival audio with first-person narration and interviews to examine both the great passion that fueled By Grand Central Station and the obstacles that prevented Elizabeth from recreating its brilliance.Featured in this episode are Sina Queyras, a poet and teacher currently working on an academic project about Elizabeth; Maya Gallus, a celebrated documentarian whose first film, On the Side of the Angels, was about Elizabeth; Kim Echlin, author of Elizabeth Smart: A Fugue Essay on Women and Creativity; and Rosemary Sullivan, Elizabeth's biographer. This episode also features archival audio of Elizabeth in conversation at Memorial University (1983) and reading at Warwick University in England (1982).SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Producer Bio:Myra Bloom is Assistant Professor of Canadian literature at York University-Glendon campus. She is currently writing a book called Evasive Maneuvers about Canadian women's confessional writing, including Elizabeth Smart, and is preparing a SSHRC-funded podcast on the same topic.Guest BiosKim Echlin is a novelist. Her novel, The Disappeared, was short-listed for the Giller Prize. She has written a biography of Elizabeth Smart titled Elizabeth Smart: A Fugue Essay on Women and Creativity in which she discussed the work and life of Elizabeth Smart in the context of writing, motherhood, and earning a living. Her new novel will appear next year.Maya Gallus is an award winning documentary filmmaker whose work screens at numerous international film festivals. Most recently, The Heat: A Kitchen (R)evolution, was the opening night film at the 2017 Hot Docs Film Festival and the 2018 Berlinale Culinary Cinema programme. She is also recognized for her critically acclaimed literary biographies, The Mystery of Mazo de la Roche and Elizabeth Smart: On the Side of the Angels. Sina Queyras is a Canadian writer, editor, and creative writing professor at Concordia University. They have published seven collections of poetry, a novel and an essay collection. Their third collection of poetry, Lemon Hound, received the Pat Lowther Award and Lambda Literary Award for Lesbian Poetry, and their fourth, Expressway, was shortlisted for the 2009 Governor General's Award for poetry. They are currently researching Elizabeth Smart for an academic project.Rosemary Sullivan is Professor Emeritus at the University of Toronto and the author of By Heart: Elizabeth Smart, A Life. She has published fourteen books in the multiple genres of biography, memoir, poetry, travelogue, and short fiction. Her biography Shadow Maker: The Life of Gwendolyn MacEwen won numerous prizes including the Governor General's Non-Fiction Award. Her latest book, Stalin's Daughter: The Extraordinary and Tumultuous Life of Svetlana Alliluyeva, published in 23 countries, won the Hilary Weston Writers' Trust Prize, the BC National Non-Fiction Award, the RBC Charles Taylor prize, the Plutarch Biographers International Award and was a finalist for American PEN /Bograd Weld Prize and the U.S. National Books Critics Circle Award. In 2012 she was made an Officer of the Order of Canada.Special thanks to Vineeta Patel for transcription help. Donna Downey at the MUN archives. The Glendon Media Lab. Aisha Jamal, Ali Weinstein, Heather White, Lauren Neefe, Sarah O'Brien, Lynn Bloom, Leonard Bloom, Lana Swartz for feedback.Credits:Warwick Archive (2019, Nov). Elizabeth Smart – English Writers at Warwick Archive. https://warwick.ac.uk/fac/arts/english/writingprog/archive/writers/smartelizabeth/280182.MUN Archive Video Collection. (pre 1994). Elizabeth Smart: Canadian Writer. http://collections.mun.ca/cdm/ref/collection/extension/id/2981.All the music in this episode is by Blue Dot Sessions.Clips Featured in Introduction:The voices of Michael O'Driscoll, Annie Murray, and Jason Camlot from Stories of SpokenWebA clip of Mavis Gallant from Mavis Gallant Reads “Grippes and Poche” at SFUThe voices of Kate Moffat, Kandice Sharren, and Michelle Levy from Mavis Gallant, Part 2: The ‘Paratexts' of “Grippes and Poche” at SFUA clip of Muriel Rukeyser and the voice of Katherine McLeod from ShortCuts minisode You Are HereMusic in the introduction is Lick Stick by Nursery from Blue Dot Sessions.Tape noise sound effects from FreeSound.org.

In the late 1950s and early 1960s, a group of poets at UBC Vancouver began a little magazine: the TISH poetry newsletter. The TISH poets would later be called one of the most cohesive writing movements in Canadian literary history. In the summer of 2019, Craig Carpenter visited one of the former editors of TISH magazine —who is also his former professor of modern Canadian poetry. Based on interviews conducted during this visit and a subsequent visit in the winter of 2019, Craig has created an episode that explores his evolving relationship with his former professor and scenes from more than 50 years of literary history. Craig takes us through the relationships and the stories that formed a part of the TISH movement and the poet that Robert Hogg has become.Craig gives a heartfelt thank you to all those who took the time to offer feedback on early script drafts: Deanna Fong, Judith Burr, Mathieu Aubin, Marjorie Mitchell. Special thanks to Dr. Karis Shearer, all of his  colleagues at the UBC Okanagan AMP Lab, and, of course, to Robert Hogg.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about SpokenWeb visit: spokenweb.ca. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producer:Craig Carpenter is an MA student in the IGS Digital Arts & Humanities theme at the University of British Columbia (Okanagan). A poet, journalist, sound designer, and former literary editor, Craig brings a diverse set of skills to the SpokenWeb project. His thesis will explore the podcast as public scholarship and engages archival recordings of second wave TISHITES Daphne Marlatt and Robert Hogg. With particular attention to Charles Olson's 1950 essay PROJECTIVE VERSE, he is investigating the intersection of proprioceptive poetics, the embodiment of voice in performance and sound studies. Musical score by Chelsea Edwardson: Chelsea Edwardson uses music as a tool to transform stories and concepts into the sonic realm, creating experiences through sound that heal and inspire. Her background in ethnomusicology brings the depth of tone and expression that transcends culture, taking the listener to worlds beyond a physical place and into a landscape of feelings. To learn more, visit https://www.chelseaedwardson.com.Featured Guest:Robert Hogg was born in Edmonton, AB, and grew up in Cariboo and Fraser Valley, BC. Hogg graduated from UBC with a BA in English and Creative Writing. During his time at UBC, Hogg became affiliated as a poet and co-editor a part of TISH. In 1964, Hogg hitchhiked to Toronto and visited Buffalo NY, where Charles Olson had been teaching at the time. At SUNY at Buffalo, he completed a Ph.D. on the works of Charles Olson. Shortly after, Hogg taught American and Canadian poetry at Carleton University for the following thirty-eight years. Hogg currently lives at his farm located in Ottawa.Sound Recordings Featured:Archival Audio from PennSound.comShort intro clips of: Warren Tallman, Fred Wah, Daphne Marlatt, George Bowering: all from PennSound digital archives.Recording of “The Red Wheelbarrow” by William Carlos Williams: http://writing.upenn.edu/pennsound/x/Williams-WC/the_red_wheelbarrow_multiple.phpRecording of “Often I am Permitted to Return to a Meadow” by Robert Duncan: https://media.sas.upenn.edu/pennsound/authors/Duncan/Berk-Conf-1965/Duncan-Robert_01_Often-I-am-Permitted_Berkeley-CA_1965.mp3Recording of “I Know a Man” by Robert Creely: http://www.writing.upenn.edu/pennsound/x/Creeley/i_know_a_man.phpRecording of “Maximus From Dogtown I” by Charles Olson: https://media.sas.upenn.edu/pennsound/authors/Olson/Boston-62/Olson-Charles_14_Maximus-Dogtown-2_Boston_06-62.mp3Archival Audio from AMP Lab's Soundbox CollectionRobert Hogg reads at Black Sheep Books, Vancouver, 1995: https://soundbox.ok.ubc.ca/Archival Audio from KPFARobert Hogg reads at Berkeley Poetry Conference, 1965: http://www.kpfahistory.info/bpc/readings/Young%20poets.mp3

In which Kevin Hutchings (Professor of English at the University of Northern British Columbia) joins us to talk about the once-famous Ojibwe Methodist writer, George Copway (Kah-ge-ga-gah-bowh)! From Copway's relation to Romanticism to his resistance to European hegemony, this episode covers a lot! Kevin was great and allowed us to make one of our favourite episodes yet. Check out his writings and more at: http://www.kevinhutchings.ca/writings You can find some of Copway's works linked below and at https://historiacanadiana.wordpress.com/2021/05/14/selection-of-george-copway-kah-ge-ga-gah-bowh-poems/ --- Contact: historiacanadiana@gmail.com, Twitter (@CanLitHistory) & Facebook (https://www.facebook.com/CanLitHistory). --- Support: Patreon (https://www.patreon.com/historiacanadiana); Paypal (https://www.paypal.com/paypalme/historiacanadiana); the recommended reading page (https://historiacanadiana.wordpress.com/books/) --- Sources & Further Reading: C. L. Howey, Meghan. “‘The Question Which Has Puzzled, and Still Puzzles': How American Indian Authors Challenged Dominant Discourse about Native American Origins in the Nineteenth Century.” American Indian Quarterly, vol. 34, no. 4, 2010, pp. 435–474. www.jstor.org/stable/10.5250/amerindiquar.34.4.0435. Copway, George. “Once More I See My Father's Land,” Canadian Poetry from the Beginnings Through the First World War, 2010, pp. 83. Copway, George. The Life, History, and Travels of Kah-ge-ga-gah-bowh, Albany, Weed and Parsons, 1847. https://archive.org/details/lifehisttravels00copwrich?ref=ol&view=theater Hutchings, Kevin. Transatlantic Upper Canada: Portraits in Literature Land and British-Indigenous Relations, McGill-Queen's University Press, 2020. “Orature and Literature,” CanLit Guides, 2016. http://canlitguides.ca/canlit-guides-editorial-team/orature-and-literature/ Petrone, Penny. “Copway, George.” The Oxford Companion to Canadian Literature, Oxford University Press, 2006. Rex, Cathy. “Survivance and Fluidity: George Copway's The Life, History, and Travels of Kah-Ge-Ga-Gah-Bowh.” Studies in American Indian Literatures, vol. 18, no. 2, 2006, pp. 1–33. Smith, Donald. "The Life of George Copway or Kah-ge-ga-gah-bowh (1818-1869) — and a review of his writings", Journal of Canadian Studies, Vol. 23, no. 3, Fall 1988, pp. 5-38.

Episode 24 of the Penteract Poetry Podcast, hosted by Anthony Etherin and Clara Daneri, and with guests Kate Siklosi, Gregory Betts, and Nasser Hussain.   This is a special panel episode, featuring a discussion of the past, present, and future of experimental poetry in Canada. Topics include bpNichol and The Four Horsemen, Conceptualism, and the historic Text/Sound/Performance conference held in Dublin, April 2019 (which was coordinated by Gregory Betts).Discover more about Penteract Press by visiting our website and our Twitter.And, if you like what you hear, please consider supporting this series via Anthony’s Patreon page!Support the show (http://patreon.com/Anthony_Etherin)Support the show (http://patreon.com/Anthony_Etherin)

In which we cover the early life of famous Nova Scotian Joseph Howe; from his publishing endeavors that encouraged local talents to his 1835 libel trial that changed the game for free speech in Canada. All texts discussed are found below! --- Major Sources & Further Reading: Beck, J. Murray. “Howe, Joseph.” The Oxford Companion to Canadian History, Oxford University Press, 2004. Beck, Murray. Joseph Howe, Conservative Reformer 1804-1848, McGill-Queen's University Press, 1984. Bentley, D. “Joseph Howe's Acadia”, Mimic Fires: Accounts of Early Long Poems on Canada, McGill-Queen's University Press, 1994. Howe's Accusation of the Magistrates (January 1, 1835): https://nslegislature.ca/about/history/joe-howe/howepaper Howe, Joseph. ‘Acadia', 1873. http://canadianpoetry.org/longPoems/Howe_Joseph/Acadia/acadia.html Howe's Libel Defence (March 2, 1835): https://nslegislature.ca/about/history/joe-howe/howedefense Howe, Joseph. ‘Melville Island', Other Poems and Essays, 1874. http://canadianpoetry.org/longPoems/Howe_Joseph/other_poems/melville_island.html Howe, Joseph. ‘My Father', Weekly Chronicle, 1861. http://canadianpoetry.org/longPoems/Howe_Joseph/other_poems/my_father.html Vincent, Tom. “Howe, Joseph.” The Oxford Companion to Canadian Literature, Oxford University Press, 2006. Zenchick, S.G. “A Reading of Joseph Howe's Acadia”, Canadian Poetry, Vol. 9, Summer 1981. http://canadianpoetry.org/volumes/vol9/zenchuk.html --- Reach the show with any questions, comments and concerns at historiacanadiana@gmail.com, Twitter (@CanLitHistory) & Facebook (https://www.facebook.com/CanLitHistory). --- Support: Patreon (https://www.patreon.com/historiacanadiana) & Paypal (https://www.paypal.com/paypalme/historiacanadiana). Check out the recommended reading page (https://historiacanadiana.wordpress.com/books/) and our apparel (http://tee.pub/lic/Ges5M2WpsBw)!

Marilyn Dumont discusses editing Best Canadian Poetry 2020. Andrew talks about mentorship and pandemic reading. It's good stuff! ----- Listen to more episodes of Page Fright here. Follow the podcast on twitter here. ----- Marilyn Dumont is of Cree/Métis ancestry, her Dumont family having lived in the Edmonton area which has a rich Métis historical and contemporary presence. Poet, writer, and professor, Marilyn Dumont teaches with the Faculty of Native Studies and the Department of English and Film Studies at the University of Alberta. Her four collections of poetry have all won either provincial or national poetry awards. She was awarded the 2018 Lifetime Membership from the League of Canadian Poets for her contributions to poetry in Canada, and in 2019, she was awarded the Alberta Lieutenant Governor's Distinguished Artist Award. ----- Andrew French is an author from North Vancouver, British Columbia. He is the author of the chapbook Do Not Discard Ashes (845 Press, 2020). Andrew holds a BA in English from Huron University College at Western University and an MA in English from UBC. He writes poems, book reviews, and hosts this very podcast.

Production and Sound Design by Kevin Seaman

Production and Sound Design by Kevin Seaman

Alanna talks with Beth and Lisa about books that influenced them from teens to adults. The memories flow as we talk about books for each stage of life (but especially for those ugly duckling times) and maybe how the classics belong in the past.Shoutouts to Mrs.Clark for The Hobbit, Mr. Hornick for MacBeth, Mr. Underhill for Canadian Poetry

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Guest Bios: Hannah McGregor is an Assistant Professor of Publishing at Simon Fraser University, where her research focuses on podcasting as scholarly communication, systemic barriers to access in the Canadian publishing industry, and the history of middlebrow periodicals. Her work can be found in various journals including Participations, Modernism/modernity Print+, the Journal of Modern Periodical Studies, and Studies in Canadian Literature; she is also the co-editor of the book Refuse: CanLit in Ruins (Book*hug 2018). Hannah is the co-creator of Witch, Please, a feminist podcast on the Harry Potter world, and the creator of the weekly podcast Secret Feminist Agenda, which is currently undergoing an experimental peer review process with Wilfrid Laurier University Press. She is also the host of the monthly SpokenWeb Podcast, an experimental collaborative research podcast created through the SSHRC-funded SpokenWeb partnership.andrea bennett is a National Magazine Award–winning writer and editor. Their writing has been published by The Atlantic, the Globe and Mail, The Walrus, Maisonneuve, Hazlitt, Vice, Reader's Digest, Vogue Italia, Quill & Quire, and many other outlets. andrea's first book of poetry, Canoodlers, came out with Nightwood Editions in 2014. Their Moon Travel travel guide to Montréal is now available, as is their guide to Québec City. Their first book of essays, Like a Boy but Not a Boy, is forthcoming with Arsenal Pulp Press in Fall 2020. Katherine McLeod researches and teaches Canadian literature through sound, performance, and archives. Her recent publications include a chapters in the books Public Poetics: Critical Issues in Canadian Poetry and Poetics, Moving Archives (Wilfrid Laurier UP), and CanLit Across Media: Unarchiving the Literary Event (MQUP), which she also co-edited with Jason Camlot. Currently, she is an Affiliate Assistant Professor in the Department of English at Concordia University, where she researches CBC Radio recordings and where she is organizing SpokenWeb's Ghost Reading Series. Follow the site she curates for Montreal readings at WherePoetsRead.ca and @poetsread.Jen Sookfong Lee's books include The Conjoined, nominated for the International Dublin Literary Award and a finalist for the Ethel Wilson Fiction Prize; The Better Mother, a finalist for the City of Vancouver Book Award; The End of East, and Gentlemen of the Shade. Jen teaches writing at The Writers' Studio with Simon Fraser University and co-hosts the podcast, Can't Lit.Episode Resources: bennett, andrea. Excerpt from “The People's Poetry.” The essay appears in the book Like a Boy But Not A Boy: Navigating Life, Mental Health, and Parenthood outside the Gender Binary to be published by Arsenal Pulp Press, fall 2019.Camlot, Jason and Katherine McLeod. "SGW Poetry Remix" MP3 file, 12 Dec 2018.MacEwen, Gwendolyn. “Dark Pines Under Water.” https://www.youtube.com/watch?v=DaHTMxvxNGcMacEwen (a performance)." Resurfacing: Women Writing across Canada in the 1970s. Mount Allison University & Université de Moncton, 26-28 April 2018.--- "Performing the Archive: A Remix." Performed with Jason Camlot. Blue Metropolis International Literary Festival, Montreal, 5 May 2019.MacEwen, Gwendolyn. “Dark Pines Under Water.” https://www.youtube.com/watch?v=DaHTMxvxNGc---  Reading with Phyllis Webb at Sir George Williams University, Nov 18 1966. https://montreal.spokenweb.ca/sgw-poetry-readings/gwendolyn-macewen-at-sgwu-1966/--- "Past and Future Ghosts." Afterworlds. Toronto: McClelland and Stewart, 1987.McLeod, Katherine. "(Un)Covering the Mirror: Performative Reflections in Linda Griffiths's Alien Creature: A Visitation from Gwendolyn MacEwen and Wendy Lill's The Occupation of Heather Rose." Theatre and Autobiography: Writing and Performing Lives in Theory and Practice. Eds. Sherrill Grace and Jerry Wasserman (Talon, 2006). 89-104.--- "An Archival Remix" Performance by Katherine McLeod and Emily Murphy. Toronto: Modernist Studies Association, 18 Oct 2019.Music:“Flamenco Rhythm” by Sunsearcher: https://freemusicarchive.org/music/Sunsearcher"Soothe", “At Our Best Alone,” “A Certain Lightness,” “The Bus At Dawn,” “Slow Slow Sky” all from https://www.sessions.blue/

This podcast features poet Daniel Lockhart, fresh from his tour of multiple Canadian cities. Lockhart holds degrees from Trent University, Montana State University, and Indiana University, and is the author of four poetry collections, The Gravel Lot That Was Montana, This City at the Crossroads, Big Medicine Comes to Erie, and most recently, Devil in the Woods. He has also written a collection of essays called Wënchikàneit Visions. His work has received multiple Pushcart Prize nominations and has appeared in Malahat Review, Contemporary Verse 2, the Dalhousie Review, Grain, McNeese Review, and the Windsor Review among others. Daniel Lockhart is also the publisher at Urban Farmhouse Press. He is a Turtle Clan member of the Moravian of the Thames First Nation, and currently resides at Waawiiyaatanong on the south shore of the Detroit River (also known as the border cities of Windsor ON and Detroit MI).https://www.brickbooks.ca/books/devil-in-the-woods/https://urbanfarmhousepress.ca/index.php

Five poets answer each other's questions. Andrew is just excited to be there. It's the best, and they've got the book to prove it. ----- Listen to more episodes of Page Fright here. ----- Order Best Canadian Poetry 2019 here. ----- Ellie Sawatzky lives, writes, and borrows dogs in Vancouver. She was a finalist for the 2019 Bronwen Wallace Award for Emerging Writers, and is the author of the poetry chapbook Rhinocentric (Frog Hollow Press, 2018). Her work has appeared in CV2, Room, The Puritan, The Matador Review, Prairie Fire, Little Fiction, and elsewhere. She holds an MFA from UBC's Creative Writing Program, and writes a series of writing prompts called IMPROMPTU on Instagram (@impromptuprompts). ----- Laura Matwichuk lives in Vancouver. Her first book of poetry, Near Miss, was published by Nightwood Editions in 2019. ----- Dallas Hunt is Cree and a member of Wapsewsipi (Swan River First Nation) in Treaty Eight territory in Northern Alberta. He has had work published in The Malahat Review, Arc Poetry Magazine, Canadian Literature, and Settler Colonial Studies. His first children's book, Awasis and the World-Famous Bannock, was published through Highwater Press in 2018, and was nominated for the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. He is an assistant professor of Indigenous literature at UBC. ----- Shaun Robinson lives in Vancouver. His poems have appeared in The Puritan, The Malahat Review, Prairie Fire, and Poetry is Dead. One of his poems was selected as an Honourable Mention in Arc Poetry Magazine's 2018 Poem of the Year contest. He works as an editor for the chapbook press Rahila's Ghost. His first collection of poems is forthcoming from Brick Books. ----- Sonnet L'Abbé lives in Nanaimo, BC. A poet, professor, and songwriter, they are the author of A Strange Relief, Killarnoe, and Sonnet's Shakespeare. In 2014, they were guest editor of The Best Canadian Poetry in English, and their work appears in many anthologies of Canadian verse. Their chapbook, Anima Canadensis, won the 2017 bpNichol Chapook Award. They teach creative writing and English at Vancouver Island University. ----- Andrew French is an author who was born and raised in North Vancouver, British Columbia. French holds a BA in English from Huron University College at Western University, and is pursuing an MA in English at UBC. He writes poems, book reviews, and hosts this very podcast.

Alex Leslie talks about her new book, Vancouver for Beginners (Book*hug, 2019). Andrew is stoked to record with Alex's dog, Lucas. It's an absolute blast. ----- Click here to check out Page Fright's live recording in Vancouver on December 7th (6-8pm @ Massy Books)! ----- Alex Leslie was born and lives in Vancouver. She is the author of Vancouver for Beginners (Book*hug, 2019) and two short story collections: We All Need to Eat, a finalist for the 2019 Ethel Wilson Fiction Prize, and People Who Disappear, which was shortlisted for the 2013 Lambda Literary Award for Debut Fiction and a 2013 ReLit Award. She is also the author of the prose poetry collection, The things I heard about you (2014), which was shortlisted for the 2014 Robert Kroetsch Award for innovative poetry. Alex's writing has been included in the Journey Prize Anthology, The Best of Canadian Poetry in English, and in a special issue of Granta spotlighting Canadian writing, co-edited by Madeleine Thien and Catherine Leroux, and has received a CBC Literary Award, a Gold National Magazine Award, and the 2015 Dayne Ogilvie Prize for LGBTQ Emerging Writers. ----- Andrew French is an author who was born and raised in North Vancouver, British Columbia. French holds a BA in English from Huron University College at Western University, and is pursuing an MA in English at UBC. He writes poems, book reviews, and hosts this very podcast. ----- Listen to more episodes of Page Fright here.

As Noelzi continues to take a look at poetry around the world, today she focuses on poetry in Canada. What does it consist of and how did it develop into what it is now?

Active FM — As Noelzi continues to take a look at poetry around the world, today she focuses on poetry in Canada. What does it consist of and how did it develop into what it is now?

Michael Lista is an investigative journalist, essayist and poet in Toronto. He has worked as a book columnist for The National Post, and as the poetry editor of The Walrus. He is the author of three books: the poetry volumes Bloom and The Scarborough, and Strike Anywhere, a collection of his writing about literature, television and culture. His essays and investigative stories have appeared in The Atlantic, Slate, Toronto Life, The Walrus, The New Yorker, and elsewhere. He was the 2017 Margaret Laurence Fellow at Trent University and a finalist for the Allan Slaight Prize for Journalism. I met Michael at his home in Toronto to talk about his essays in Strike Anywhere (Porcupine's Quill, 2016) Canadian Poetry, Rupi Kaur, Al Purdy and Wordsworth, common speech and common sense, Carmine Starnino and The Lover's Quarrel, John Metcalf, Leonard Cohen and schmaltz, John Thompson, Dante, Scott Griffin, the Saudi arms deal, Margaret Atwood, MacBeth, long-form investigative journalism, crime reporting, self-interest, radical truth-telling and men crying.   

Eli MacLaren is an Assistant Professor of English at McGill University in Montreal. Subjects taught include Canadian poetry and fiction; First Nations writers; bibliography and the history of the book. We met to discuss an article he wrote for Canadian Poetry entitled ‘Significant Little Offerings: The Origin of the Ryerson Poetry Chap-Books, 1925–26'.   We talk, among other things, about the literary publishing environment in Canada during the 1920s, Lorne Pierce's idealistic nation building, risk, the desire for a national literature, restrictive copyright laws, Confederation poet Charles G.D. Roberts, Ryerson's Makers of Canadian Literature series, authors covering publishing costs, romantic versus modernist poetry, the arts and craft look of the chap-books, poetry's goal of moving the average reader and making sense of death, author's lives informing their poetry, shining light on neglected works, the origins of chap-books, and the birth of the small press movement in Canada.

Katie Price and Grace Zhang interview Adam Dickinson on his poetic exploration of plastics, The Polymers.

East Van Poetry Salon raconteurs, Chris Gilpin and Julie Peters announce their 10 Best Poems of 2016.

Indigenous poet, actor, artist, alchemist, rapper, Ronnie Dean Harris joins us on the phone from Langley in the midst of a snow storm.

Poet and editor, Dave Eso stops by to talk about the anthology "Where the Nights are Twice as Long." The new anthology of letters and poems from Canada's pantheon of poets, from 1883 to present.

Julie is a writer and yoga teacher (E-RYT 500) in Vancouver, BC. She owns and runs Ocean and Crow Yoga with her mom, Jane. She has an MA in Canadian Poetry from McGill University, co-founded the East Van Poetry Salon, is President of the Vancouver Poetry House board, and has represented Vancouver twice in the Women of the World Poetry Slam and as a member of the 2012 Vancouver Poetry Slam team. She writes a biweekly blog for Spirituality and Health Magazine and has written for various other publications, online and otherwise. Learn more about Julie Peters by visiting http://www.jcpeters.ca/ Also, make sure you get a copy of her book Secrets of the Eternal Moon Phase Goddesses: Meditations on Desire, Relationships, and the Art of Being Broken! Click here to visit the show notes page!   Like this episode? Please leave an honest rating on iTunes. Ratings and reviews are extremely helpful and greatly appreciated! They do matter in the rankings of the show, and I read each and every one of them. P.S: Just takes a minute! :)   SUBSCRIBE ON ITUNES  Click here to leave us a rating & review on iTunes Follow us on social media:  | Facebook | Twitter | Join our Facebook Tribe    

Alexander Monker is an Ottawa-based collector of Canadian poetry. I met recently with him to talk about his passion for these and other books, and to get some advise on the art of book collecting.  We also talk about, among other things, the kindness and knowledge of used/antiquarian booksellers, misspelled book titles online, the Contact, Gaspereau and Apt. 9 Presses, buying what you love, Anglo-Irish novelist Charles Lever, Walter Scott, buying duplicate copies of books for trade, learning all you can about your specialty areas, and sending books to poets for their signatures. Plus many other great book collecting tips. 

Brian Trehearne is a professor of English at McGill University. His teaching and research areas focus on Canadian literature to 1970, chiefly poetry.  Awards and Fellowships include SSHRC Standard Research Grants, the Louis Dudek Award for Excellence in Teaching (three times) and the Arts Undergraduate Society Award for Excellence in Teaching. Publications include Canadian Poetry 1920 to 1960; Editor  (2010);  The Complete Poems of A.J.M. Smith,  Editor, (2007); The Montreal Forties: Modernist Poetry in Transition (1999) and Aestheticism and the Canadian Modernists: Aspects of a Poetic Influence (1989). He is currently working on a critical edition of The Complete Poems of John Glassco. We met in Montreal to talk about the position of Irving Layton in the Canadian poetical canon, the influence of Montreal and parents on Layton's  poetry and persona; about masculinity, the sun, freedom, attention-seeking, Nietzsche, the Apollonian and the Dionysian, misogyny, aging, the Holocaust, vulnerability, and the best dozen poems. Photo Credit: Irving Layton.ca

Professor, poet, editor and critic, Michael Gnarowski was born in Shanghai, China in 1934. He received his Ph.D. in English literature from the University of Ottawa in 1967. While an undergraduate at McGill, he contributed to, and co-edited, Yes (1956-1970) magazine. He also wrote for and/or edited Le Chien d'or/The Golden Dog (1970-1972), Delta, Golden Dog Press (1971-1985), and Tecumseh Press, and was series editor for McGraw-Hill Ryerson's Critical Views on Canadian Writers Series (1969-1977) and co-edited Canadian Poetry (1977- ) with David Bentley. In 1970 Gnarowski  wrote a brief history and checklist of the Contact Press. Here's his entry on Contact in the Canadian Encyclopedia: "Contact Press (1952-67) was founded as a poets' co-operative by Louis DUDEK, Raymond SOUSTER and Irving LAYTON, who were generally dissatisfied with the slight opportunities for publication available to Canadian poets. Contact went on, in the course of its 15-year history, to become the most important small press of its time. Launched at the mid-century, it published all the major Canadian poets of the period, and transformed literary life and small-press activity in Canada by its openness to a variety of poetic styles and its assertiveness of the poet's role in the production of his own work. Beginning before subsidies and government aid to Canadian book publishing had become a mainstay of such activity, Contact was a self-financed act of faith on the part of its founders.While its main thrust was in publishing the new work of individual poets, it produced a milestone anthology, Canadian Poems 1850-1952, co-edited by Dudek and Layton in 1952, and an avant-garde manifesto of young poets published as New Wave Canada: The New Explosion in Canadian Poetry (1966). This was a successor to Souster's Poets 56, which had featured young poets in response to Dudek's query "Où sont les jeunes?"Essentially a "no-frills" press, Contact published handsome, workmanlike books with, on occasion, a mimeographed pamphlet. Its writers ranged from F.R. SCOTT, one of the early moderns, to the newest wave represented by Margaret Atwood, George Bowering. I met with Gnarowski at his home in Kemptville, Ontario to talk about the history, and collecting of Contact Press.

Prof. David Staines is a Canadian literary critic, university professor (English at the University of Ottawa), writer, and editor.  He specializes in three literatures: medieval, Victorian and Canadian. He is editor of the scholarly Journal of Canadian Poetry (since 1986) and general editor of McClelland and Stewart's New Canadian Library series (since 1988). His essay collections, include The Canadian Imagination (1977), a book that introduced Canadian literature and literary criticism to an American audience, plus studies on Morley Callaghan and Stephen Leacock. But it's not for any of this (save a defense of Callaghan in the face of John Metcalf's condemnations) that I sought  Prof. Staines' company. Rather it's because he co-edited Northrop Frye on Canada (University of Toronto, 2001). Frye, Canada's most celebrated literary theorist, a man many hold responsible for the dearth of evaluative analysis in Canadian criticism; a man whose thoughts and person Staines knows (and knew) very well; is the reason we met. Please listen to a conversation that reveals the author of Fearful Symmetry and The Anatomy of Criticism as a surprisingly self contradictory critic; speaks to the remarkable talent of Alice Munro and Canada's current stock of strong fiction writers; outlines criteria for acceptance into the New Canadian Library; and identifies some of the best Canadian novels.