Image by Girts Gailans, courtesy Red Edge Images AT FIRST Karen Enns At first I wanted anonymity, to be lost in concrete halls and elevators, markets and cathedrals, city squares. I wanted music on buses and trains to change me and tell no one. I wanted to be poor. But shadows fell and lifted, a few good measures bloomed. The stone-white tone that held its pitch beyond the traffic noise and barking dogs, the keys rattling in the locks, began to fade. Skaters circled the bandshell in the park early in the afternoons. There were choirs sometimes, sometimes a thin resonance. Gorgeous broken lines of light slashed the outskirts of the city. from Ordinary Hours, Brick 2014. Used with permission. Karen Enns has published two books of poetry with Brick Books, That Other Beauty (2010), nominated for the Gerald Lampert Award, and Ordinary Hours , released in the spring of 2014. She lives in Victoria. Read our recent conversation here .
Showing posts from September, 2014
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Now and then a book review or commentary or interview with the writer comes along that makes me not only want to read the book, but actually go out and get it, right now. This is one of those. Thanks, Poetry Foundation, for hosting and posting this conversation. “My first book without struggle and without despair,” says Louise Glück , describing her new collection, Faithful and Virtuous Night . Indeed, the poems and bits of prose collected in Glück’s 13th book of poetry are dreamy, even ethereal, but as absorbing and intensely experienced as ever. Glück hardly needs an introduction—she has so many prizes and honors to her name that she seems to be the first and final word in contemporary American poetry—so suffice it to say that in this new volume, she has compiled a series of otherworldly poems that manage to represent all things Glück: they’re intimate, seductive, spellbinding. And yet this book is in many ways a rebirth for her, an attempt at imagining something ne
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photo of Jeanette Lynes by Deb Cragg You're as likely to meet Jeanette Lynes while you're haunting a thrift store as visiting the book table at a literary festival. And when you do, the conversation is likely to take surprising turns. SUSAN GILLIS: How did you come to poetry--or, if you prefer, how did poetry come to you? JEANETTE LYNES: Poetry came to me in waves. The first wave was church hymns during my rural childhood. I always thought hymns were beautiful and poetic, profound, and often sad. My poetry-loving mother was a key influence, too. The second wave happened during university, an undergraduate course I took called ‘Introduction to Poetry’. Again, as with the hymns, I had this sense of an encounter with something profound. The poetry course showed me that poetry could work on so many levels, emotional for sure, but philosophical as well. I took more poetry courses in graduate school – the next wave - and added theoretical, conceptual, and experimental to th