The Crisp Day Closing on My Hand
The Poetry of M. Travis Lane
Publication Year: 2007
The Crisp Day Closing on My Hand: The Poetry of M. Travis Lane is a collection of thirty-five of her best poems, selected with an introduction by Jeanette Lynes. An environmentalist, feminist, and peace activist, M. Travis Lane is known for witty and meticulously crafted poems that explore the elusive nature of “home” in both historical and present contexts and reflect on the identity of the woman poet and what it means to be a writer. Lane’s poems exhibit impressive range and variety—long poems, short lyrics, serial poems, poems inspired by visual art—and are richly attentive to the landscapes, both urban and wild, of her New Brunswick home. They voice a sense of urgency with respect to ecological crises and war; her poetic attention fixes unwaveringly on the smallest pebble on the coast of Fundy but is equally attuned to global patterns of destructive domination.
In her introduction “As Opportunity for Grace, This Life May Serve”, editor Jeanette Lynes discusses how Lane’s poetry integrates an ecopoetic vision with explorations of the artist’s task of mapping her world. Lane’s afterword reinforces her sense of the poet’s project as a form of mystical play, a search for patterns in the “unified disunities” of all things.
Published by: Wilfrid Laurier University Press
Series: Laurier Poetry
Table of Contents
At the beginning of the twenty-first century, poetry in Canada—writing and publishing it, reading and thinking about it—finds itself in a strangely conflicted place.We have many strong poets continuing to produce exciting new work, and there is still a small audience for poetry; but increasingly, poetry is becoming a vulnerable art, for reasons that don't need to be rehearsed...
M.Travis Lane is a poet of impressive versatility and breadth. A practising writer since the sixties and author of nine full-length poetry collections, she is a pluralist in outlook and technique whose work, over the years, has explored civic space, domestic space, wilderness space, and interiorized psychic spaces. I've long enjoyed Lane's openness to idiosyncrasy—her willingness to let the...
The Song of Lot's Wife
A Stone from Fundy
Well, Viewed by the God
Red Earth [excerpt; from "Divinations," Book Two]
Walking Under the Nebulae
The Weight of the Real
The House as Sculpture as Chapel as Priest
Six Poems on a Sculpture by Ülker Özerdem
For the Cenotaph, November 11, 1983
The Gift from the Bad Fairy
The Horn That Is So Difficult to Play
You Want Your Truths Told of You
About the Size of It
There Are Real Ants in the Metro
Strive for a Deep Stillness
Afterword: Those Mysteries of Which We Cannot Plainly Speak
My cat plays the piano. I admire some of his effects more than others, but he has learned that neither chords not arpeggios receive the obedience he achieves from me by tapping relentlessly a single note. It drives me out of my chair. Yet sometimes, out of feline exuberance or the joy of creativity he achieves a medley and complexity of notes, runs, and chords worthy of Ravel...
I am grateful to M. Travis Lane for permission to reprint poems from Solid Things, originally published by Cormorant Press in 1989. I am also grateful to Lane for her permission to reprint poems from Divinations and Shorter Poems (1980), An Inch or So of Garden (1969), and Poems 1968–1972 (1973). Thanks also to Brick Books, Goose Lane Editions, and Guernica Editions for...