In honour of pride season, here are some books you should read, from Room's past and present contest judges.
Room collective member Jónína Kirton shares her list of Canadian Aboriginal writers whose work she has either come to know and respect or that are on her "to read” list.
Pat Lowther Poetry Award and the Dorothy Livesay Poetry Prize winner Jen Currin shares her secrets to generating great poetry
The pages you have yet to write are flagged and fluorescent, post-it pennants waving for another town’s fiesta.
they might have noticed
down the hallway
resembled a private waltz
my Sanskrit owl
vahana, vehicle of Laksmi
sharing the name with
a muni, sage
The honourable mention of our 2014 poetry contest, judged by Sonnet L’Abbé.
Congratulations to the shortlisted entrants of Room’s 2014 Fiction, Poetry, and Creative Non-Fiction Contest. The winners will be announced on Oct 15, 2015 (the same day our Creative Non-fiction contest 2015 opens!)
Our thanks to more than 430 writers who submitted their work and to our esteemed judges: Saleema Nawaz (fiction), Sonnet L’Abbé (poetry), and Sarah de Leeuw (creative non-fiction).
Alia and Natty smoke real cigarettes. They light up, breathe in smoke oh-so smooth and breathe out like old-fashioned pros.
You may think that in the age of Twitter, poets would shun the outsized proportions of a long poem. Thank goodness some don’t. Calgary writer Vivian Hansen has chosen the ideal form for exploring the interconnectivity of generations and cultural/personal identity in her narrative long poem, A Bitter Mood of Clouds.
Hansen, whose work has explored women’s issues, landscape, and immigration, creates a vast lyrical space in which to unfold the story of Anna/Arne, a hermaphroditic predecessor, who, during the Nazi occupation of Denmark, struggles with gender identity. The scope is threefold: primal, past, and present. The landscape is occupied by Nazis, Fates, ancestors, and shared dreams.
The opening lines instantly set the tone, describing Anna/Arne’s birth in the register of mythic verse. Jordemor is both midwife and the jorde-mor or mythic earthmother:
Jordemor is satisfied,
the baby’s head appearing
as a bloodied harvest moon,
Goddesses of disir have departed
With Anna’s appearance come the Norns, pagan spirits of destiny who occupy Yggdrasil and influence human lives. They are Skyld, the future; Wyrd, the past; and Verdandi, the present. Their interpolations appear beside the main text as they observe, interfere with, and sometimes change outcomes. When the ancestors move to the new world and are severed from their culture and landscape, the Norns disappear. But they reappear at poem’s end through the narrator’s re-engagement with her past.
Hansen’s depiction of Arne and the tenderness with which his mother and family members embrace him is convincing and affecting (not polemic). His cousin Marta (the narrator’s mother), who has an affinity with supernatural/psychic phenomena, accepts him fully. When she meets the croaky-voiced “girl”:
Ham-Anna stands feral and stoney
like a hedgehog avoiding a stick …
Ham-Anna reminds her of the Norns …
… they have summoned
the source of their covenant:
it is about Kin.
The one false note, however, was the moment Arne spoke in his “own” male voice, which seemed poetically unconvincing.
I initially resisted the prosaic poems of the present, which sounded more mundane than the narrative about Arne. Without the supernatural and the “territory symbolled with swastikas,” they felt strangely eventless. But on rereading, I understood that they were essential as one of the layers in this genealogical stratum.
Throughout the work Hansen deftly weaves references to slugs—themselves hermaphrodites—their vulnerability, their resemblance to female genitalia and tongues, and their habit of leaving behind silvery trails, not unlike the faint traces of ancestors still subtly present in our lives.
With its deep sense of place (“the peculiar greenspeak of bog”), the poem builds its weight cumulatively until the separate threads weave gradually into a single, greater fabric. It’s not always easy to sustain such a momentum, but Hansen has managed it eloquently.
Currently on Newsstands
Room 41.2, Changing Language
Edited by Kayi Wong
In this issue:
Manahil Bandukwala, Fang Bu, Allison Graves, Kadijah Guillaume, Ava Homa, Ashley Hynd, Amy LeBlanc, Vanessa Lent, Tasslyn Magnusson, Chloe Yelena Miller, Amy Oldfield, Alycia Pirmohamed, Mia Poirier, Victoria Prevot, Michelle Purchase, Jade Riordan, Ellie Sawatzky, Bren Simmers, Dahae Song, Anne Stone, Susie Taylor, Katherena Vermette, Kayi Wong, Hiba Zafran, Shellie Zhang.