The title for my poetry collection, Moving to Climate Change Hours, was suggested by my wonderful publisher Noelle Allen of Wolsak and Wynn. It’s a modification of one of the poem titles in the book, Today We Move to Climate Change Hours. Noelle suggested it as an alternative to my admittedly much weaker suggestions and I immediately realized it was perfect. I had a discussion with my friend Linda on why it made sense to use this instead of the actual title of the poem it comes from, which also I think could have been a good but not as good title. I said I liked Noelle’s better for the book because of the ongoingness of the word moving. And also how that relates to the idea of climate, not only evoking the climate catastrophe, but also how it also relates to the poet speaker’s own internal climate which is changing through the book. I said I loved how “Moving” worked in those contexts. 

So in this little essay I’m interested in moving or move in both the motion type sense as well as the internal world.  When researching ahead of the video on the etymology of the word move it was interesting to discover “move’ showed up in the 1300 and 1400’s in Middle English with it’s motion type meaning but over that time also came to have the emotional meaning like “I found that very moving”.  So early on the word was understood for it’s physical meaning as well as an internal world movement too. 

Continue reading “Move – Video Essay”

 

 

I completed the Canada Council for the Arts project of twelve videos based on my poetry collection Moving to Climate Change Hours at the end of October. Since then I’ve been thinking of how to create a longer form video including the 12 and to extend the project with linkages. The problem was how to link them in a way that was interesting to me and also worked with the videos. In other words how to create a cohesive whole from them. 

Sara recently suggested to me that I listen to the audiobook version of the American poet Ross Gay’sThe Book of Delights, a book of short essays coming out of a daily practice Ross developed. They are quite amazing, Ross’ mind is fascinating and the delights range far and wide. His definition of delight being quite expansive sometimes including very dark topics, often important topics, but sometimes whimsical, material that makes you angry, sad or happy, I often laugh out loud while listening. His observations have inspired me to observe more as I go about the world. 

Continue reading “Enjambment – A Video Essay”

 

This is the first video I’ve made for the Canada Council’s Digitals Originals program. My plan is to release about a dozen of these over the next three months.  The goal is to provide an experience of my new collection, Moving to Climate Change Hours published by Wolsak and Wynn, through a video gallery of selected poems. As well I will provide a blog post discussing each poem, its poetics and something around my thinking in the making of the video for the video gallery. 

 

The poem On Leaving was written after hearing a discussion on the use of steep enjambment in poetry. Poetry Foundation gives us this definition of enjambment: “The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation”. Or another way to think of it is the line ends in the middle of a phrase with the continuation being enjambment on to the next line. 

Continue reading “On Leaving – 1st Video Gallery Poem”

 

 

            I was aware of “The Red Wheelbarrow” of course, one of the most famous poems of the twentieth century, but I had not read any more of Williams.  As part of a reading for Brenda Hillman’s prosody and forms class in a Robert Hass section “Modernism and the Two Line Stanza” there was a suggested reading from the Spring and All of several poems.  I found the Collected Poems in the library, went to the section with Spring and All and was pleasantly surprised by what I found there.  I had been thinking about writing a hybrid work of prose and poetry for some time and here was a great example from 1923.  In addition, the work Williams was doing beyond just “The Red Wheelbarrow” was of interest in terms of structure and diction as well as other poetics.  And then the prose itself was rich and full of ideas around Williams’ theories on poetics.

            When I researched a bit I found out that the original book had not sold many copies, that the full prose had disappeared from any collection of Williams’ work until 1970. I decided I had to know more about this work, its impact on contemporary poetry and how it could influence my own work.

            The prose in Spring And All is a manifesto, an idiosyncratic explanation of Williams’ poetic theories and practice, interrupted by outbursts of poetry.  The poetry sometimes is a response to what has just been said in the prose or the prose responds sometimes to the poetry.  In order to understand what is going on I propose walking through what I see as a few of the key texts of Spring and All.
Continue reading “Lessons From William Carlos Williams Spring and All”