The Poetry of Daphne Marlatt
Publication Year: 2014
Opening doors, dreaming awake, tracing networks of music and meaning, Marlatt’s poetry stands out as an essential engagement with what matters to anyone writing with a social-environmental conscience. Rivering includes poems inspired by the village of Steveston where, before the war, a Japanese-Canadian community lived within the rhythms of salmon on the Fraser River delta. Also gathered into Rivering: lesbian love poetry from Touch to my Tongue; a transformance of Nicole Brossard’s Mauve; passages from The Given, winner of the 2009 Dorothy Livesay Poetry Prize; a traditional “Kuri” song from the Noh drama, The Gull; and an unpublished excerpt from the chamber opera “Shadow Catch.”
Difficult, beautiful, heart-breaking realities of the twenty-first century are urgently immediate in selections from Liquidities: Vancouver Poems Then and Now. All of the poems speak to Marlatt’s poetics of place and of language as passage between distant or disparate human beings, and between human beings and the more-than-human world. The selections are framed by Susan Knutson’s deeply attentive critical introduction and by Marlatt’s “immediacies of writing,” a new lyrical essay investigating the act of writing. Closing with a walking meditation situated by her Buddhist practice, Rivering is both a “pocket Marlatt” and an introduction to one of the best poets of our time.
The painting on the cover is by River Lewis and is entitled “Kickwillie Loop Kal Lake”. See more of his work under Related Links.
Published by: Wilfrid Laurier University Press
Series: Laurier Poetry
Title Page, Copyright Page, Quote
Table of Contents
...poetry to its readers in a different way – by selecting thirty-five poems from across a poet’s career, and by asking the editor and the poet to write an engaging and accessible introduction and afterword, respectively. Crozier...
...in 1951 with her family. In 1964 she received her B.A. in English and Creative Writing at the University of British Columbia, where she studied poetry and poetics with Robert Creeley, Robert Duncan, and Charles Olson and was involved with the Tish group of poets. In 1968...
Introduction: Daphne Marlatt’s Embodied Language Poetics
...Marlatt also acknowledged Warren Tallman and Robert Creeley and the Poetry Conference of 1963 in Vancouver, where Charles Olson was present. Then, in bold and telegraphic style, the young poet outlined the language poetics that would carry her through the next four decades...
Coming in, who
June near the river Clyst, Clust, clear. Clystmois this holding wet & clear
Combe Martin, house martin,Martinmas, Saint Martin, martial swords & plowshares
Avebury awi-spek, winged from buried (egg
Litter. wreckage. salvage
“Slave of the canneries”
Winter / rice / tea strain
This place full of contradiction
“Two women in a birth”
“Imagin-a-nation in the heart of”
There is a door
Small print i
Small print iii
Small print v
In the current
Generation, generations at the mouth
Lift. step. drop.
Afterword: Immediacies of Writing,
...wife of an Issei shipwright and fisherman living in Steveston. Sometimes, unknowingly, one writes a few lines that continue to reverberate as some kind of pointer for future years of writing. Perhaps because I began writing...
...Daphne Marlatt and Susan Knutson thank Brian Henderson and Neil Besner for supporting this project from the beginning, and we join with them and the fine team at WLUP in thanking Betsy Warland and Nicole Brossard for their generous collaboration. For permission...