Tag Archives: poetry

Sarnia-Lambton Poets Prepare For #NPM17 Celebrations

Shift the colours on your page;/and softly coax your reds and purples,/that have concealed themselves/for years…” – Kara Ghobhainn Smith*

Close your eyes for a minute or two. Imagine what it would be like to be a poet. What does today’s poet even look like? Listen to the words melting into a new sound or image. What does a poet write about? Perhaps, you are a closet poet afraid to admit that you are moved by words.

Kara Ghobhainn Smith, author The Artists of Crow County

Kara Ghobhainn will be one of two spotlight readers at Sarnia-Lambton’s 2017 April is Poetry Month Celebration.

Today’s poetry, like colour, shifts on the world stage and April is one of the best times to not only explore this form of writing but to seek answers to your questions. All across Canada and the United States, poets are planning launches and readings for the big #NPM17 celebration.

According to The League of Canadian Poets’ website, this professional organization for established and emerging poets boasts over 700 members. The Ontario Poetry Society, a provincial grassroots not-for-profit organization has over 250 members.

The Sarnia-Lambton area houses poets from both organizations as well as The Writers’ Union of Canada, the Canadian Authors Association, the Association of Italian Canadian Writers (AICW), and such local groups as AfterHours Poets, Lambton Writers Association, Writers Helping Writers (WHW), and Writers International Through Sarnia (WITS).

Every poet whether published or not, deserves to be applauded for his/her efforts. If you know a poet, take time to get to know him or her. Ask why writing is so important to them.

Below is an event featuring six area writers who wish to show the public what their poetry is all about and why poetry matters. Hope to see a few of you there!

National Poetry Month April 18, 2017 in Sarnia for distribution

Mark your calendars for this FREE public event – Tuesday evening – April 18, 2017

Six former and current members of The Writers’ Union of Canada will showcase their work during Sarnia-Lambton’s 2017 National Poetry Month (#NPM17) celebration, Tuesday, April 18 from 7 to 9 p.m. at John’s Restaurant’s Famous Room, 1643 London Line.

Featured poets Kara Ghobhainn Smith (from Chatham-Kent) and Sharon Berg (who recently moved to Sarnia) will share the spotlight thanks to the financial assistance of the Canada Council for the Arts through The Writers’ Union of Canada.

Ghobhainn was the Chatham-Kent Cultural Centre’s 2015-2016 Writer-In-Residence. She recently launched her book The Artists of Crow County (Black Moss Press) which includes the poem shortlisted for the 2016 Walrus Poetry Prize. Many of her poems (within this collection) were inspired by artists in the Chatham-Kent area as well as her trip to Mâlain, France.

Author Sharon Berg, founder-publisher-editor Big Pond Rumours E-zine and Micro-Press

Sharon Berg will be one of two spotlight readers at Sarnia-Lambton’s 2017 National Poetry Month Celebration.

Berg is the founder/publisher/editor of Big Pond Rumours (the literary e-zine and micro press) and former host of Sarnia’s Cadence Reading Series. Her third manuscript, The Book of Telling, reveals many secrets that wait on the other side of truth.

Four local poets (James Deahl, Debbie Okun Hill, Norma West Linder, and Carmen Ziolkowski) will also share the stage. Ziolkowski, who is in her nineties, is Sarnia’s oldest living poet. Her granddaughters will assist with her reading. 

“One of the exciting developments in recent years is how Sarnia has emerged as a poetry hot spot”, said James Deahl, one of the organizers and the emcee for the event. “Indeed, it can now be said that Sarnia is an important literary focal point in Ontario. Local poets commonly travel from Nova Scotia to British Columbia to present readings or participate in literary festivals, and several Sarnia poets have contributed to the sesquicentennial anthology celebrating Canada’s 150th birthday. This is your chance to hear them.”

Sarnia-Lambton’s April 18th celebration is free and open to the public.

As part of National Poetry Month, several Sarnia-Lambton poets have also been invited to read at out-of-town and local events in April.

Both Okun Hill and Berg will be reading in Toronto at The Art Bar, considered to be “Canada’s longest running poetry-only weekly reading series”. Okun Hill will be the sharing the stage with poets Phlip Arima and Ian Burgham on Tuesday, April 4 while Berg will showcase with John Terpstra and Betsy Struthers on April 11. The Art Bar series is held at the Free Times Café, 320 College Street (College and Spadina). Featured readings begin at 8 p.m. followed by an open mic.

art-bar-reading-april-4-2017

The Art Bar in Toronto is considered to be “Canada’s longest running poetry-only weekly reading series”.

On Wednesday, April 5 in London, Deahl and Linder are the featured guests at the London Open Mic Poetry Night held at Mykonos Restaurant, 572 Adelaide Street North. Their readings begin at 7 p.m. followed by an open mic.

James Deahl

James Deahl, the author of 26 literary titles, will emcee the April 18th event as well as read at numerous events.

Deahl and Linder will also read in Hamilton with several other poets including Sarnia’s Lynn Tait, Thursday, April 13 from 7 to 9 p.m. at The Staircase, 27 Dundurn Street North as well as in Toronto on Wednesday, April 26 from 6:30 to 8:30 p.m. at the Main Branch of The Toronto Public Library, 137 Main Street.

On Saturday, April 29 in Sarnia, Okun Hill (who has a manuscript of over 60 poems about the ash trees and the emerald ash borer) will share the stage with artist Mary Abma and other performers during the special event Signposts & Traces: Ash Tree Memorial Trail Performance from 10 to 11 a.m. at Canatara Park.

In Chatham-Kent, Ghobhainn will participate in Poetry City, an annual poetry celebration that encourages mayors and city councils in Canada to declare April as National Poetry Month. She will open a council meeting with a poetry reading.

Additional information about these and other upcoming literary events in Ontario can be found here.

Additional information about The Writers’ Union of Canada can be found on the organization’s website .             

OUT-OF-TOWN SPOTLIGHT READER/PERFORMER

KARA GHOBHAINN SMITHis the author of The Artists of Crow County (Black Moss Press, 2017), co-author of Next to the Ice (Mosaic Press, 2016), Teaching, Learning, Assessing (Mosaic Press, 2007), and the author of the blogspot poetry series, ‘The Travelling Professor’. Ghobhainn is Chatham-Kent’s 2015-2016 Writer-in-Residence, and Editor of the Journal of Teaching and Learning (JTL), as well as the books’ editor for the Canadian Journal of Education (CTL). Her poems have been shortlisted for the 2016 Walrus Poetry Prize and the Polar Expressions Prize.

LOCAL SPOTLIGHT READERS/PERFORMERS

SHARON BERGis an author of fiction, poetry and educational history related to First Nations. She is also the founder and editor of Big Pond Rumours E-Zine and Micro Press. She published widely up until the 1980s, with her poetry appearing in periodicals across Canada, the USA, the UK, The Netherlands, and Australia. Then she pursued her teaching career. Since she retired from teaching in April 2016, she has returned to her writing and has new work appearing in several places in 2017. She has produced two full books, three chapbooks, two audio tapes, and a CD of her work. Additional information on her website. Follow her review blog here.

Norma West Linder

Norma West Linder is a prolific Sarnia writer (novelist, poet, and short story writer).

JAMES DEAHL – is the author of twenty-six literary titles, the four most recent being: To Be With A Woman, Landscapes (with Katherine L. Gordon), Unbroken Lines, and Two Paths Through The Seasons (with Norma West Linder). A cycle of his poems is the focus of a one-hour television documentary, Under the Watchful Eye. Currently, Deahl is writing a series of essays on ten Canadian poets of the Confederation Period for Canadian Stories magazine for their sesquicentennial issues.

NORMA WEST LINDERis a member of The Writers Union of Canada, The Ontario Poetry Society, and WITS. A novelist, poet, and short story writer, she spent her formative years on Manitoulin Island and now lives in Sarnia where she taught English at Lambton College for 24 years. Her latest publications are The Pastel Planet (children’s novel), Tall Stuff (adult), and Two Paths Through The Seasons (poetry with James Deahl) published by Swords & Cyclamens, Israel. Her poem Valediction has been performed by choirs in Toronto and Calgary, set to music by Jeffrey Ryan, a West Coast composer.

DEBBIE OKUN HILLis Past President of The Ontario Poetry Society and a current member of The Writers’ Union of Canada and The League of Canadian Poets. She has been writing poetry since 2004 and has over 350 poems published in literary journals across Canada and the United States. Windsor publisher Black Moss Press published her first trade book Tarnished Trophies in 2014. This July, Big Pond Rumours Press will publish her art-themed chapbook manuscript Drawing From Experience. Okun Hill enjoys promoting the work of other writers and blogs about her literary journey on this site: Kites Without Strings.

Carmen Ziolkowski

Carmen Ziolkowski, an amazing woman and poet who is still writing in her nineties.

CARMEN ZIOLKOWSKIwas born in Italy and following WWII, lived in England where she worked as a registered nurse and later a midwife. In 1955, she emigrated to Canada and enrolled in the Port Huron Junior College, where she studied Journalism, finishing the course at Wayne State University. She has won several prizes for her poetry and in 1988, Ziolkowski received a special award for her contribution to Canadian and Italian literature from the Italian Vice Consul to Canada. Her first book of poems, Roses Bloom at Dusk, was translated into Italian and Japanese. Carmen has taught creative writing at Lambton College. She is a member of the Writers’ Union of Canada, the Canadian Authors Association, the Association of Italo-Canadian Writers, Pen International, Writers International Through Sarnia, and The Ontario Poetry Society. Ziolkowski’s first novel, House of Four Winds, was published in 1987, her 2nd book of poetry, World of Dreams, was published in 1995, her chapbook, Moments to Treasure, was published in 2008, and her latest work, The Moon Before the Sun, was published in 2009. Ziolkowski is currently working on her diary of life on La Monaca, where she was born, in Italy.

*from the poem “Change” published in The Artists of Crow County (Black Moss Press, 2017) page 19. Reprinted with the author’s permission: Copyright © Kara Smith, 2017

 FOLLOW THIS BLOG FOR A FUTURE POET PROFILE ON KARA GHOBHAINN SMITH.

Poet James Deahl was profiled here and Norma West Linder was profiled here. Sharon Berg’s involvement in the Cadence Reading Series was featured here.

HAPPY NATIONAL POETRY MONTH EVERYONE!!

Celebrating Forests & Poetry -March 21, 2017

The sun rolls out a carpet of light…March 21, 2017 is not only World Poetry Day but it’s also International Day of Forests!

Today reminds us that we should dash outdoors into a forest, recite a poem, hug the oldest tree we can find, do all that we can to protect our environment, and make our world a kinder and better place to live in. Who cares if anyone is watching or not! The fresh air will be intoxicating.

International Day of Forests World Poetry Day March 21, 2017

As a full-time gardener of words, I can’t wait to kick off the winter boots and sink my feet and hands into the earth. After hibernating most of the winter, I hope to start writing some new material again.

Some of my blog followers may have noticed that my masthead has changed from a monarch butterfly to a log featuring the zig-zag trails of the invasive emerald ash borer (EMB). I’m eager to share some new poems on that theme. Artist Mary Abma has been creating artifacts to commemorate some of the trees lost by the EMB.  I look forward to seeing her work. Watch this blog for additional information about Signposts & Traces: Ash Tree Memorial Trail Performance to take place at Canatara Park and the Judith and Norman Alix Art Gallery in Sarnia, Ontario, Canada.

In July 2017, Drawing From Experience, my art-themed manuscript will be published by Big Pond Rumours Press. The 17-poem chapbook received Runner-up in the 1st annual Big Pond Rumours Chapbook Competition. I’m excited about this new project. Many of the poems were previously published and will be shared as a collective group for the first time. More details will be available at a later date.

For those who wish to attend a literary function, check my recent updates on the 2017 event section of my blog. The list represents a small sample of provincial offerings. Additional information about Sarnia-Lambton’s National Poetry Month celebration will be provided soon.

In the meantime, may your poetic muse nudge you to listen to the whispering trees….

“They too have stories to share.”

Congratulations I. B. Iskov – More Applause for this Arts and Culture Leader

Some women are absolutely fabulous.

I. B. (Bunny) Iskov is one of them.

Last Sunday (March 5, 2017), Iskov was one of forty Greater Golden Horseshoe residents honoured during the 4th Annual Absolutely Fabulous Women – 40 over Forty Awards Gala. According to the organizers, “this prestigious annual award ceremony celebrates inspirational individuals and recognizes their outstanding contributions to the community.” Iskov received her award for her long-standing service to the Arts and Culture community (more specifically for her dedication and leadership with The Ontario Poetry Society).

Photo 3 Bunny Iskov win her award March 5, 2017 Photo courtesy Anna Yin

Canadian poet I. B. (Bunny) Iskov was recently honoured at the 4th Annual Absolutely Fabulous Women – 40 Over Forty Awards Gala held in Mississauga, Ontario. Photo Courtesy: Anna Yin

 

I’ve written about Bunny before. Back in 2015, I stated, “Canadian poet I. B. (Bunny) Iskov reminds me of the Energizer® Bunny and the TV commercial where the batteries in the pink-plush, sunglasses wearing, hare “keep going and going and going”. Even the Oxford Dictionary’s description of the generic ‘energizer bunny’ phrase resonates with her character and enthusiasm. She is indeed a “persistent or indefatigable person or phenomenon.”  See the full blog post including a question and answer segment here.

Bunny was also featured in two blogs about her involvement as editor/compiler of the recent Memory and Loss fundraising anthology and tour where monies were raised for the Alzheimer Society of Ontario. See those blogs here and here.

As I’ve mentioned before, Bunny is one of the hardest working individuals I know and is a crusader for all poets, especially those at the grassroots level who need a nudge and boost of confidence to keep writing.

Photo 1 Bunny Iskov at Absoluately Fabulous Women March 5, 2017 event photo courtesy Larry Iskov

For over 16 years, Bunny Iskov has inspired poets through The Ontario Poetry Society, a not-for-profit organization she founded and runs with the help of several volunteers. Photo Courtesy: Larry Iskov

 

With permission from the nominating committee (Fran Figge, Ronnie R. Brown, and me), below are some of the highlights of Bunny’s achievements that were shared with an independent panel of judges. I am thrilled that the judges accepted the nomination.

Toronto poet I. Bunny Iskov is the dynamic leader and Founder of The Ontario Poetry Society (TOPS). For over 16 years she has funneled her enthusiasm for words into the creation and ongoing development of this highly successful not-for-profit provincial literary arts organization which currently serves over 260 members.

Through Beret Days Press, Iskov has published over 150 books including member anthologies and private collections as well as a triannual newsletter Verse Afire.  Through her poetry initiatives, over $1500 has been donated to several non-profit charitable organizations.  She has also established a poor poet fund and the Make-A-Chapbook Foundation for poets in financial need.

As a volunteer and poetry promoter, Iskov helps launch the writing careers of emerging poets. She embraces writers from every ethnic and cultural background, from hobbyists to poet laureates. She creates, organizes and runs several contests, workshops, readings and open mic events each year.

In 2009, she was the recipient of the inaugural RAVE (Recognizing Arts Vaughan Excellence) Award for her work as Art Educator and Mentor in the Literary Arts Discipline.

Bunny Iskov is inspirational, irreplaceable and deserves recognition for her achievements.

Additional information about her personal literary credentials are posted on-line on The Ontario Poetry Society website.

Photo 2 Anna Yin and Bunny Iskov at award ceremony March 5, 2017 Photo Courtesy Larry Iskov

Anna Yin, Mississauga’s first poet laureate, congratulates Bunny Iskov on her award. Photo Courtesy: Larry Iskov

 

Bunny is indeed amazing. A few hours after winning her award, she was back at The Ontario Poetry Society headquarters sending e-mails and promoting other poets.

And there’s more….

Later this month, she’ll be releasing a new limited edition chapbook called Hold The Applause (Ink Bottle Press, 2017). The collection will include a sample of her poems that have either won poetry awards or have come close as Honourable Mentions and/or Judge’s Choice Awards.

She will also be preparing all the files for Transitory Tango, a poetry membership anthology to be edited and compiled by Ronnie R. Brown and released in late summer by Beret Days Press. Submissions for Verse Afire, TOPS membership newsletter must also be compiled. Several contests and members’ readings and open mic events have also been organized for 2017.

Like the Energizer® Bunny, she keeps “going and going and going”. She continues to make a difference in so many lives. Thank you for all that you do!

 

Pat Connors Flexes his Poetic Muscles in Part-Time Contemplative

You have turned the tip-tips and taps/and thump thumps and ba-pa-dumps/of disenfranchised nerdy young men//into something resembling music – Pat Connors*

 

Reading a Pat Connors’ poetry chapbook is like stepping inside a bar and eavesdropping on someone’s contemplations and daydreams. In fact, the first poem in his first Lyricalmyrical book Scarborough Songs is titled ‘Scarborough Bar’. It makes reference to the clichéd phrase “wildest dreams” and describes the antics of a “gap-toothed guy”, as well as “slow dancing with a beauty queen” and the reality of  “places I cannot go anymore”.

scarborough-poet-pat-connors

Scarborough Poet Pat Connors

The cover photo (with an opened beer bottle between two hockey gloves) sets the tone not only for Connors’ sense of humour but the light and sporty sections of the book. Read on and you’ll also find numerous melancholy images as well as some heavy topics such as politics, faith, destiny, the future and one’s purpose in life. 

scarborough-songs-by-pat-connors

Scarborough Songs is Connors’ first poetry chapbook published by Lyricalmyrical.

One of the strongest poems in the collection is called ‘In the House Where I Grew Up’. It uses a table as a metaphor for a dysfunctional family: “Came apart in the middle/Like so many ruined meals/And other realities hard to digest”.

 

Despite all the references to waiting and dreaming, the 36-page collection ends on a hopeful reflective note, “I will hold out for/The future/And trust in/What it brings”.

 

Connors’ second Lyricalmyrical chapbook, Part-Time Contemplative, continues with similar reflective themes from the first book. However, Connors’ style as a poet has changed and strengthened. Rather than beginning each line with a capital letter, he starts each line with a mix of upper and lower cases which makes the poems less formal and easier to read. He includes several haiku and short poems and uses more line structure and/or stanza consistency. The language is richer, although at times, it also leans toward abstract thought.

 

His best work stems from his narrative poems such as ‘Burby’ where he writes, “On Summer days too hot for baseball/or moving the lawn or digging post holes/we sweated and burned in the sun/to gain a small victory or live out a dream.” Sometimes, his poems remind me of a mantra, a prayer or a stream of consciousness. For example, “If I am to become the man I am to be become//I have to stop being the one others would have me be.”

 

Connors stresses that his poetry is intended for the general public versus an academic audience.

 

In his dedication, he acknowledges the support of Canadian poet and former Grain editor Mick Burrs, “who has helped me/to become a better poet and person.”

 

As Fran Figge, President of The Ontario Poetry Society, wrote in her review of Connor’s latest chapbook, “Pat Connors’ book is the poetry of discovery, finding one is “blessed beyond what I ever believed.” It is the rite of passage, “the sunrise after darkest night”.”

pat-connors-in-cuba-2017-photo-by-lillian-allen

Pat Connors in Cuba, January 2017. Photo courtesy of Lillian Allen.

In January, Connors travelled to Cuba as part of the launch of the bilingual anthology The Bottom of the Wine Jar. The Toronto launch of this book will be held this spring. Below are some of his thoughts about his writing and future projects.

 

Congratulations Pat! Please describe your latest Lyricalmyrical chapbook in a few sentences.

 

Thank you, Deb!  Part-Time Contemplative is very much the sequel to Scarborough Songs, released in 2013 by Lyricalmyrical Press, and charted on the Toronto Poetry MapIt is the continuation and  development of the themes from the first book, as well as my growth and development as a poet and as a person. 

 

Several of the poems from both chapbooks were either previously published or won awards. What is your favourite poem in your latest collection and why do you like it so much?

 

“The Beginning of Forever” had never been published before, although I certainly tried.  People have apparently been offended by the relatively innocuous expletive I use at the end of the first stanza.  But it is a warm and inviting and gentle piece aside from that one turn of phrase, which I wrote while going through a very challenging period.  The poem didn’t work the various times I tried to change that line.  It lost its honesty.

 

How does your work differ from others in the same genre?

 

My work is more influenced by dub and spoken word, yet also by rock and roll, than most literary poets.  I don’t write for a niche audience, but rather to be read and heard by a wide variety of audiences, including ones which are non-literary.

 

Would you consider yourself a people’s poet? Why or why not?

 

I write poetry which I hope the man in the street can appreciate as much, or more, than the literary or academic circles.  I read at open mics which are largely musical, or for collectives like Scarborough Arts, or with groups of people who are not predominantly English-speaking, and check to see if my message comes through and rings true.

 

I write about experiences and themes which I have shared with a group of friends I have known since the 1970’s, and do so in a manner in which they could relate.  Robert Priest has described my style as “deceptively plain spoken”.  This is something to which I aspire, and have worked very hard to create.

 

Both of your chapbooks have a spiritual thread. The first chapbook is dedicated to The One who makes it possible, and the one I adore. The second chapbook is dedicated to Canadian poet Mick Burrs. Who are your poetry mentors and/or teachers and why do they mean so much to you?

 

The One who makes it possible is God.  I have nothing without God – no reason, no purpose, no life, no creativity.  My poetry is above all a celebration of that relationship.

 

Mick, as well as people such as Terry Barker and James Deahl, are great mentors and friends, who very much treat me as an equal, yet encourage me to expand myself, to go beyond what I have already done.

part-time-contemplative-by-pat-connors-cover-image

Front cover image for the poetry chapbook Part-Time Contemplative by Pat Connors.

The cover of your second chapbook shows a cluttered desk. Describe your writing process including your favourite writing space.

 

The beginning of the process typically comes far away from my cluttered desk – the distillation of my experiences, the contemplation, the affirmation or evolution of my value systems.

 

The first draft is almost always with pen and paper.  The second (and usually third) draft is done at my desk, when things are – ironically – a little more organized.  Then, after a meeting with Mick, or Dane Swan, another great poet and friend, comes one or two more drafts.  At least.

 

What are you currently working on?

I have 18 poems in an anthology from the Canada Cuba Literary Alliance (CCLA) called Bottom of the Wine JarThe world premiere was in Gibara, Cuba, at the end of January.  The Canadian launch should be in late Spring.

the-bottom-of-the-wine-jar

Connors is one of four poets featured in this bilingual anthology Bottom of the Wine Jar.

What are your future plans?

 

A full manuscript to be released before my 50th birthday, which is in May, 2019.  A chapbook of poetry inspired by Psalm 40.  A novella and/or a book of short stories after that is completed.  A novel by the time I’m 60.

 

Wow, you have your writing plans all mapped out. Is there anything else you would like to share with the readers?

 

I trust you will enjoy what I write and how I write it, and that you find the products to be genuine.  I hope this will inspire you in whatever defines and motivates you.  I believe this affects all facets of life, and makes the world a better place.

 

Thanks Pat for the interview. I look forward to reading more of your work.

 

Pat Connors first chapbook, Scarborough Songs, was published by Lyricalmyrical Press in 2013, and charted on the Toronto Poetry Map. He was literary juror of Big Art Book 2013, a digital project of Scarborough Arts. He has appeared in entities such as The Toronto Quarterly, Zouch Magazine & Miscellany, This Place Anthology, Northern Voices Journal, Poetry’Z Own Magazine, Chrysalis Zine, and was nominated for the 2011 Best of the Net contest. He recently published in: Canadian Stories; Big Pond Rumours; and Sharing Spaces, a joint project of York University and Antares Publications. Part-Time Contemplative is his second chapbook.  He is a manager for the Toronto Chapter of 100,000 Poets for Change.

pat-connors-at-the-2015-edmonton-poetry-festival

Pat Connors reads at the 2015 Edmonton Poetry Festival as part of the Great Canadian PoeTrain Tour

Additional information about Pat Connors can be found on LinkedIn and in an earlier post on this blog. Numerous videos of his performances appear on YouTube.

*epigraph from “The Professor” published in the book Part-Time Contemplative (Lyricalmyrical, 2016) Reprinted with the author’s permission. Copyright © Pat Connors, 2016.
This article represents the 100th post for Kites Without Strings. Browse this blog for previous literary articles or follow for additional Canadian Author and Poet Profiles.

Filling Your Heart with Love Poems

“All You Need Is Love,” wrote John Lennon. The lyrics to this 1967 Beatles single holds me captive and warms my mood like a lit fireplace on a snowy evening.

Wouldn’t it be wonderful if love could soften some of the hatred in this world? Call me an optimist! I’d sooner be hypnotized by cupid’s arrow than lambasted by hurtful words. Are you feeling drained by all the negative news? I know I am.

tag_all_for_love_feb_11_myck

Mark your calendars for this special Red Valentine event in Chatham, Ontario.

In just eight days (Saturday, February 11), the Thames Art Gallery presents “All Four Love”, a special Red Valentine themed event featuring Black Moss Press* poets Cornelia Hoogland, Vanessa Shields, Kara Ghobhainn Smith, and Debbie Okun Hill (that’s me) plus special musical guest celebrity sing-songwriter Crissi Cochrane. If you’ve never heard Crissi perform, here’s your chance. She has a beautiful voice.

all-four-love-february-11-2017-event-guest-performers

If the idea of poetry frightens you, attend anyway. I dare you. We all have different styles and voices to reach a wide audience. Expect your heart to be filled with poetic words from the sentimental to the sexy to the humourous.

For example:

“What’s your hurry? Don’t be such a schoolgirl.” – from the poem “Red Meets the Wolf in the Woods” by Cornelia Hoogland.

“These days I choose sleep over sex/Fiction over poetry/Movies over dancing” – from the poem “Where Is the Love?” By Vanessa Shields.

“She thought he was/boring, arrogant/even full of it/but he showed her” – from the poem “The night the music ended” by Kara Ghobhainn Smith.

“Remember when…/I first kissed you,” –from the poem “Gentle Devotion” by Debbie Okun Hill

Yes poetry CAN be entertaining! For additional information and performers’ bios, stop by the Thames Art Gallery website. Crissi also has a website.

Will there be food? Of course!

menu-for-all-four-love-poetry-event-february-11-2017-in-chatham

A seven-course fully red tapas menu by William Street Café is included. Expect gazpacho shooters, beet hummus with vegi chips, red pepper bruschetta, phyllo cups with goat cheese pomegranate syrup & pistachios, cranberry glazed chicken wings, tortellini in tomato sauce, and mascarpone tart with raspberries.

Mmmmmm….is your mouth watering yet?

What are you waiting for? Forget your troubles. Bring a date, a friend, a group of friends. Wear something red. And yes, tickets are available here.

Still not convinced!

Below is a short section from my longer poem “Taped Together”.**

  1. iv) Two-sided Tape

They say there are two sides

To a coin, to a story

Sometimes two sides to love

His and her sides of a bed

Two sides to an argument

And two sides to mend.

Love, love, love! May love heal our world, today, tomorrow, and always. Hope to see you in Chatham at the Thames Art Gallery/Chatham Cultural Centre.

Can’t attend? Perhaps you’d prefer to share your own love poems. Check my Ontario 2017 event page for additional love themed readings and open mics such as the Poetry and Roses reading in London on February 9, The Ontario Poetry Society’s The Love of Poetry Gathering in Toronto on February 12, and/or the Art Bar’s Cupid Wins & Wounds All Open Mic Night in Toronto on February 14.

Happy Valentine’s Month Everyone!!!

*Additional information about Black Moss Press can be found on this website.
**The poem ‘Taped Together’ received an Honourable Mention Award from The Ontario Poetry Society’s (TOPS) The Open Heart 10 poetry competition 2015 and was first published in Open Heart 10: An Anthology of Canadian Poetry, Beret Days Press, 2016. Copyright © Debbie Okun Hill

Canadian Poet Allan Briesmaster Heightens Form in ‘River Neither’

“Or might I front, down steeper paths of thought,/some earthly light that verges on divine.” – Allan Briesmaster* 

The image of French sculptor Auguste Rodin’s The Thinker pops into my mind while reading Canadian poet Allan Briesmaster’s book River Neither.

Perhaps it is the way Briesmaster uses a more classical yet varied form of metre and rhyme that pulls me into the 19th Century or maybe it’s his concentration on nature, deep reflection, and abstract reasoning that challenges me and provokes additional study.

allan-in-queens-park-on-purdy-day-photo-by-peter-rowe

Canadian poet Allan Briesmaster is inspired by music, visual art, poetry and other writing from all historical periods and world literature, natural phenomena, and people who are close to him. Photo by Peter Rowe used with permission.

In his author’s notes, he states, “It is my cautious hope that, at a time when the creation, production and reading of poetry tends to be increasingly fragmented and over-specialized, and when in some quarters traditional form is deemed archaic or obsolete, a few discerning readers will set preconceptions aside and simply enjoy the journey along River Neither – one that will lead them to discoveries of their own.”

For me, the serendipitous moment arrives when I discover that Rodin originally called his famous sculpture, The Poet. It was also speculated that Rodin’s work was inspired by Dante Alighieri and his literary masterpiece The Divine Comedy, which outlines “a soul’s journey towards God or some spiritual realm.”

Similar to Dante’s complex quest, Briesmaster’s poetry dares the reader to slow down, pause, re-read passages, and reflect. I find it necessary to not only embrace the poem’s layered meaning but to examine the structure and other poetic elements that make the work strong.

I also love how Briesmaster takes me down a path and then when I get lost, his use of language challenges me to get up and seek the philosopher’s stone. It reminds me of hiking through a dense forest and how each trip reveals additional details and insights to reward the patient traveller.

This exploratory and poetic journey is the metaphorical river that follows through the collection.

For example, his 90-page book published by Aeolus House in 2015 begins with “Absence From An Eden”, a 14 poem section that drifts from paradise to a state of yearning, transitions, and uncertain familial relationships.

In the section “Greenrise”, nature takes the stage with seasonal spring and summer accounts such as “draw an inch more of green scent down your lungs./Maybe now see the tree-branch’s rungs/on an ascent that isn’t any steeper.”

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Allan Briesmaster’s newest book ‘River Neither’ (Aeolus House, 2015) is “a concentrated exploration of poetic form: traditional, modified, and invented”.

 

In the section “Onward Turnings” the journey continues through autumn and winter where reflections of ageing and death end with “Fine farewell glow, revert me to the dawn/of rapture at leaf-motion, on the fly,/tugging the heart afresh like that bird-wing/flashed from a bare branch in sun’s orange eye.”

The last section “Flight Home” is an inward reflection. In the poem “Age and Solitude”, Briesmaster makes reference to the Chinese poet Tu Fu and writes “A solitary gull is all I am,/borne off between earth and the heavens.”

In keeping with his philosophical viewpoint, he often asks questions, to challenge himself and the reader. For example, in his poem “A Sagittarian Tension”, he writes “Has he a compass-point by which to steer,/predefined mission, fore-cast destiny?” In his last poem “Not I” (a variation of a sonnet), he offers “Of its own will, I can become the vessel/bearing the fluent force that pours through me.”

Humble in his thoughts and actions, Briesmaster is a major force in the Canadian literary scene. He is the author of seven full-length books and eight chapbooks and shorter books. According to the League of Canadian Poets website: “In 1986-90 Allan led Phoenix, Toronto’s longest-running poetry workshop. He was one of the chief organizers of the weekly Art Bar Poetry Reading Series from 1991 until 2002: playing a central role as it grew into the largest series of its kind in Canada.”

Unfortunately, I missed his recent featured reading at the Art Bar series in Toronto. However, earlier in November, I asked him to share his thoughts about his new book and writing process. Below are his responses:

Your first collection of poetry was published in 1998. River Neither is your 7th full trade book. Describe this poetry collection in a few sentences and mention how it is similar to and different from your other books.

Yes, my first book of poetry, Weighted Light, came out some 18 years ago. Since then I’ve had six other full-length books and eight smaller ones published. River Neither differs from the previous books in consisting entirely of short poems, almost all in strict forms. Many are sonnets and variations on the sonnet, and the rest also use formal constraints like metre and rhyme. There were quite a few “formal” poems in the earlier books, coexisting with an equal or greater number in open forms.

In a sense, River Neither is a concentrated exploration of poetic form: traditional, modified, and invented. It is “about” form itself and what form can uniquely accomplish, while, of course, being about much else besides. The series of poems on my late parents is something new, as is the writing about the early and later stages of life’s journey in the first and last of the book’s four parts, though some of this was initiated in the book that preceded this one. The poems set outdoors that celebrate and reflect on nature, the seasons, and ecology have themes which will be familiar to readers of my other books.

In your author’s notes, you wrote, “form can actually serve to liberate and open up paths to new discoveries of all kinds.” When did you first start working with such formal principles as metre and rhyme and how difficult is it to focus on and market such traditional forms in a poetic community that appears to value more open and experimental work?

I have always enjoyed reading classic poems that had metre and rhyme. Formalist poetry was out of favour when I first began writing seriously, but I remained intrigued by it. There are quite a few formal poems in my first book. While I am well aware of literary fashions (and there has been a considerable revival of formalist poetry in some circles in the past 20 years), I don’t ever consciously fall in line with them. Although I want people to enjoy my writing style, and to understand and be moved by the content, I need to write in the ways that are given to me and that most deeply challenge and satisfy.

I do not actively “market” my books, partly because the audience for poetry is rather fragmented and diffuse, and also because I favour readings and occasional radio programs as the best way for people to discover my work. As well, I am a publisher and editor and much of my time is dedicated to helping promote the books with which I’m involved. Which is not to say that I don’t have any aspirations for my work to be more widely read, or that I don’t think it has lasting value.

In any case, I would insist that the poetry in River Neither is not merely traditional. It has an innovative dimension, and it aims to extend and refresh forms and formal principles that are by no means obsolescent but offer perennial possibilities. For instance, I have sonnets with 13 and 15 lines, and ones with four or six end-rhymes instead of the standard five or seven. It’s gratifying that, when I give readings, a wide range of listeners respond very favourably, even when their usual taste in poetry is for something different.

Many of your poems in this collection are philosophical, nature-based or relationship themed. There is often a depth, a richness of language and intrigue that forces the reader to either slow down and concentrate on the printed words or to re-read the work several times to grasp and appreciate both the structure and meaning. What do you feel is the role of poetry in today’s society?

Thank you for this very complimentary characterization of my writing. It is certainly important to me to create poems that make readers slow down and think. I’m convinced that much, if not all, of the poetry most worth reading – that is most fully rewarding and most durable – is itself a mode of thinking: one which invites and encourages reflection and cogitation on the reader’s part.

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Allan Briesmaster is a major force in the Canadian literary scene.

 

I believe that poetry’s social role can and should be much the same as it has always been, despite the encroachments on its old domain by the electronic media that tend to make it appear outmoded. That age-old role is multiple and manifold, and poetry’s protean nature is one of the most remarkable things about it. It means to be enjoyed, producing a certain, very special artistic pleasure, and at the same time it extends our emotional, intellectual and spiritual horizons. It does not necessarily do so comfortably and reassuringly, but works to deepen our understanding of who we are, whence we came, and in what directions we may be heading as individuals and as social beings. It had better not simply confirm our prejudices or preach to the converted. It should open eyes, minds and hearts to new perspectives and other avenues besides what we’re accustomed to. It should remind us of the delight and the power language holds for us if treated with artful care.

What inspires you and who are your mentors?

A list of all the sources of inspiration would be long. High on it would be music (classical, jazz, and contemporary in particular) and visual art, a mostly indirect but vital influence nonetheless. I don’t mean writing in response to specific artworks, although I have done some of that, but just being given hope and confidence that I could approach something equivalent in my own medium. Then I am challenged by and induced to respond to a very wide array of poetry and other writing from all historical periods and world literature, including some in translation. Natural phenomena I encounter near where I live in Thornhill and throughout Southern Ontario call to me for responses more compellingly than do domestic and urban scenes. People who are close to me or otherwise make a powerful impression also spur me to write, sometimes in response to their remarks, pointed or casual – more so than items in the news. I have constant concern about political and social justice issues, but have not yet found ways of writing about them to my satisfaction, though some of this awareness does inevitably seep into my work.

I never had what I would call a mentor. I suppose I got the equivalent of mentoring, when I was young, from reading literature for pleasure and from having closely studied the classics when I majored in English. I had some good teachers but they did not directly influence my early aspirations to write, which came straight out of what I was reading: the English Romantic poets, for instance. Later, my participation in poetry workshops was helpful in learning about “the craft,” but still there was no individual who took me under his or her wing.

Describe your writing process.

I produce poems in various ways. There is no predominant “method,” and I do not have a single place or regular time when I do my writing, though I spend at least a part of an hour on it almost every day, at home, on a park bench, in a café, even once in a while on the subway; and I devote much more time to revising than raw creating. A poem could arise through an abrupt recollection of an emotionally-charged experience; out of an on-the-spot observation (I always carry a notebook around); as a response to a text I have just read that excites or annoys me; or from an image, a phrase or even a rhythm that springs to mind spontaneously from no definite source. I might jot down a promising line or two and return to it later, or I might be able to persist and, within minutes, end up with a partial sketch or entire first draft. Only rarely is the poem finished when I reach the last line of the first version. The majority of poems need at least several drafts, with possibly a substantial rewrite or two, usually across a minimum of a few days, sometimes over a week or more. The first couple of drafts are hand-written, and revision almost always continues when I enter the text on my computer. Some poems take many weeks or even months before I feel ready to show them to anyone else.

There is no time when I do not have two or more poems under development in these ways. In the later stages, I often get useful feedback from friends and the writing groups I attend, which prompts me to do further fine-tuning and sometimes come up with still more revisions. Publication in a magazine or anthology does not necessarily mean a poem is finally finished either. And when I come to prepare a book, I call on multiple readers and/or an editor to advise me.

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Briesmaster’s first book of poetry, ‘Weighted Light’ was launched 18 years ago. To date, he has seven full-length books  and eight smaller ones published. Above is a small sample of his work.

In addition to being a poet, you are one of two Executive Directors for Quattro Books and the publisher of the micro-press Aeolus House. You were also the main literary editor of Seraphim Editions and since 1998 you have assisted with the production of over 200 books. What advice would you give to a poet who is currently seeking publication of his/her first trade book?

No matter how far along a writer thinks the manuscript has come, it is highly desirable to seek the input of trusted friends or perhaps even hire a qualified editor, so that its chances of favourably impressing a publisher are maximized. In choosing which publishers to submit to, be sure that the kind of poetry you have is suited to their particular aesthetics, and, of course, check their submissions guidelines.

What are you currently working on?

I am in the early stages of what will become my next book of poetry. As always, I also have several book-editing and freelance-editing projects underway, amidst my ongoing responsibilities with Quattro Books.

What are your future plans?

I would like to do more traveling in future years than I’ve managed in the past. I’ll have time next year, after the two books of poetry I’m editing for Quattro are published in March.

Is there anything else you would like to add or share?

My writing may appear to some readers to be cerebral and constrained, but to me it is passionate as well. It comes out of a mixture of anxiety, rage, awe, and gratitude. Also of fundamental importance for my poetry is musicality (the sound, rhythm, and architecture of the words together with the pauses between them); a rootedness in physical being and the senses, not just the mind; having a basic element of play; that it wants to be enjoyed, not merely admired; and that it is a thoroughly social art, created in a spirit of generosity: with the hope that any extra effort and attention given back to it will be well rewarded, and that many poems will retain their freshness and their strangeness on successive readings, with no “best before” date attached.

Thanks Allan for the interview and for taking time from your busy schedule to answer my questions. I wish you continued success.

Additional information about Briesmaster appears on the “Members page” section of The Ontario Poetry Society and The League of Canadian Poets websites.

Information about his books can be found at Aeolus House, Hidden Brook Press, Seraphim Editions, and Quattro Books.

*from the sonnet “Octobering” published in the book River Neither (Aeolus House, 2015) page 56. Reprinted with the author’s permission: Copyright © Allan Briesmaster 2015.

Watch this blog for additional Canadian Author and Poet Profiles.

Memory and Loss Anthology Officially Launched

“…set me/wondering what an Alzheimer mind/feels like inside…” – Kate Marshall Flaherty*

 Imagine if we all lost our memories, dropped them like mittens into the snowy abyss or hid the pink mass in a suitcase and left it on a train.

Dates like Red Thursday or Black Friday or even a loved one’s birthday would mean nothing.

Think about it. That’s the point. We couldn’t! Our cognitive skills would be impaired or worse yet, our short-term memories would be zilch.

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What a journey…the train that sparked the Memory and Loss poetry anthology project.  All aboard with Editor/Compiler I. B. (Bunny) Iskov and Emma Laughlin Photo by David Brydges

Last weekend, several Canadian poets gathered in Ajax, Toronto, and Ottawa to help launch Memory and Loss: A Canadian Anthology of Poetry. The primary goals were to draw attention to those suffering with Alzheimer and/or dementia and to raise some monies for the Alzheimer Society of Ontario.

David Brydges, one of the organizers of the fundraising project, is pleased with the response so far.

“Some very memorable moments and memories were created for the three days of book launches,” he said. “We sold 50 copies of the Memory and Loss anthology and raised $500 for the Alzheimer Society of Ontario. Ottawa musicians Anne Hurley and Jim Videto’s dedication to crafting their music to complement the themes from the Memory and Loss book were splendid and powerfully effective in bringing us all together. Those in attendance were particularly moved by the poetry, stories, and music for many had known someone who was afflicted by this disease or dementia. It was a serious but fun filled three days with a little PoeTrain adventure trip added to the mix.”

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A huge round of applause for Ottawa musicians Anne Hurley and Jim Videto for creating new music and lyrics to tie in with the book’s Alzheimer and dementia theme.

Brydges who is also the engine-force behind the original PoeTrain Express to Cobalt in 2012 and the Great Canadian PoeTrain Tour in 2015, has a talent for finding unique projects to pull poets and trains together. The Memory and Loss anthology grew from a kernel extracted from a good news story.

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In Toronto, cultural entrepreneur David Brydges presents Memory and Loss editor I. B. (Bunny) Iskov with the book cover’s original artwork by Laura Landers.

“I heard,” explained Brydges, “that Mother Parkers Tea & Coffee Company had purchased and restored a 1924 Pacific rail car built by Canadian National Railway and used by King George VI and the Queen Mother in the first Canadian tour by a reigning British monarch in 1939. It was used in 2012 to raise one million dollars and awareness for the Alzheimer Society of Canada.

The ONR passenger train towed it as far as Moosonee. A stop in New Liskeard and story in the Speaker tweaked my curiosity. They said if anyone else wants to have a fundraiser for Alzheimer’s and wants to use the train to contact them.

My original idealistic plan was to use it for the venue book launch to Ottawa but there were too many obstacles with Via Rail. Previous event planning experience has taught me to reach high then plan down if necessary. So, plan B the more practical was to have the launch in the private rail car in its siding near the Mother Parkers manufacturing plant in Ajax.

On Thursday, November 17 with the sun shining in Ajax beside the Mother Parkers Tea Plant, we had our first launch inside the private rail car. Paul Higgins Jr. present co-owner (since his father died of Alzheimer’s) attended to tell his story about his father’s disease and how they acquired this historic train car. Emma Laughlin was there to help with organizing and read a poem by poet laureate Anne Margetson called “Train Travel and Memories”. Poets Bunny Iskov, and Kate Marshall Flaherty travelled from Toronto along with Wendy Jean Maclean and her sister (who came from Brockville) for the afternoon event. Ottawa musicians Anne Hurley and Jim Videto entertained some original tunes that had similar themes from the Memory and Loss book.

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Ajax was the first stop in the Memory and Loss three-city book launch tour. Supplied photo.

The second launch was held on Friday, November 18 in Toronto at The Hot House Restaurant & Bar. We had dinner beforehand and socialized with several poets in the anthology. Then fourteen poets read, from the anthology, their heart wrenching stories of how this disease has disrupted their lives and those they love. (Editor’s note: The readers included: David Brydges, I. B. (Bunny) Iskov, Kate Marshall Flaherty, Fran Figge, Debbie Okun Hill, K. V. Skene, Kamal Parmar, Jean Kallmeyer, Donna Langevin, Charles Taylor, Joan Sutcliffe, Margaret Code, Marsha Barber, and Honey Novick.) Music and songs were once again performed by Ottawa musicians Anne Hurley and Jim Videto.

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Special thanks to Toronto poet Kate Marshall Flaherty for her enthusiasm and help with organizing the three launches.

On Saturday, November 19 in Ottawa we had our final book launch and 45 people packed an excellent ambiance Pressed Café. Featured Ottawa poets were Ronnie Brown, Janice Falls, Blaine Marchand, and Susan McMaster. Gerry Mooney asked Fran Figge to read her very personal poem. Poets Bunny Iskov, Debbie, Okun Hill, Fran Figge, and David Brydges travelled by Via Rail train from Toronto to attend and participate. Kate Marshall Flaherty returned with her Ottawa musician friends who played their final event of this tour. With a hometown audience, they performed poetry and songs that blended to perfection. A surprise of the evening was a poem crafted during the show by Theresa Cull and read to us all.”

Thanks David for your detailed report.

Memory and Loss: A Canadian Anthology of Poetry is published by Ink Bottle Press, 2016 and edited/compiled by I. B. (Bunny) Iskov. The 164-page anthology features approximately 125 Alzheimer/dementia poems by 67 Canadian poets.

For a list of anthology contributors and/or to read more about the three city tour click here.

Additional information about the launch sponsor The Ontario Poetry Society (TOPS) can be found here.

Additional information about Ink Bottle Press can be found here.

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In Ottawa, several local and out-of-town contributors shared their Alzheimer-themed work. The Memory and Loss poetry anthology includes the work of 67 Canadian poets.

This Sunday, November 27 starting at noon, The Ontario Poetry Society will host The Winter WarmUp Poetry Fest at Bar Italia, 582 College Street in Toronto Ontario. Contest winners from the Arborealis anthology as well as contributors to Memory and Loss, the membership anthology Latchkey Lyricality and/or the Fire and Sky “Fort McMurray fire themed” anthology will be asked to share a poem or two from these books. All TOPS members are welcome to read and are encouraged to bring their membership card to sign up for the members’ reading portion. Non-members may share their work during the Open Mic. Sign-up is at the door. Admission is free.

Join The Friends of the Ontario Poetry Society Facebook page for additional photos and information about upcoming events, contests and projects.

*Epigraph is from the poem “Far Away” by Kate Marshall Flaherty published in Memory and Loss: A Canadian Anthology of Poetry, page 116 Copyright © Kate Marshall Flaherty 2016 used with permission from the author.