By Lorna Crozier, Catherine Hunter
Lorna Crozier’s radical mind's eye, and the finely tuned emotional intelligence that's printed within the readability of her poetry, have made her certainly one of Canada’s most well-liked poets. ahead of the 1st observe: The Poetry of Lorna Crozier is a suite of thirty-five of her most sensible poems, chosen and brought via Catherine Hunter, and contains an afterword by way of Crozier herself. Representing her paintings from 1985 to 2002, the gathering unearths the big variety of Lorna Crozier’s voice in its so much lyrical, contemplative, ironic, and witty moments. Hunter’s creation discusses the poet’s significant topics, with specific consciousness to her feminist method of biblical fantasy and her fascination with absence and silence as websites for creative revision. Crozier’s afterword, “See what number Ends This Stick Has: a mirrored image on Poetry,” is a lyrical meditation that offers an inspirational glimpse into the philosophy of a author who prizes the depth of knowledge that poetry calls for, and is tantalized by means of what predates conversing and all that cant be named. an interesting quantity that would entice undergraduate scholars in addition to normal readers of poetry. Lorna Crozier’s paintings has gained many awards, together with the Governor Generals Award in 1992 (for Inventing the Hawk), the 1st prize for poetry within the CBC Literary pageant, the Canadian Authors organization Award for Poetry in 1992, a countrywide journal Award in 1995, and Pat Lowther Memorial Awards (1993 and 1996) for the simplest e-book of poetry by way of a Canadian lady. She has released fourteen books of poetry, so much lately, Whetstone. Born in rapid present, Saskatchewan, she now lives in British Columbia, the place she is a exceptional Professor on the college of Victoria.
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I touch his thin brown fingers. It is now fifteen years ago. The dog we raised from a pup turns in a circle on the doorstep. She has dug her way out of the earth as she used to dig in, tunnelling after gophers. There is dirt in her mouth and eyes. She shakes her beautiful ears and the flies that laid eggs in her skull lift from her head, drift to the apples unripening, turning back into blossoms on the boughs. I am about to speak. The letter I wrote on the shore of Lake Winnipeg when I ran away from him returns to that place, unopened, ink flowing backward into my pen.
By our bed, in Equinox a photo of an astronaut, solitary figure floating in the cold blue of space, connected to nothing, touching nothing. Gould’s fingers on ivory keys. It isn’t Bach he’s playing from the grave, the stopped heart. So free of gravity the mind lifts like a feathered seed, only a thin shell of bone holding it in. Not Bach, but music before it became the least bit human. Is this ecstasy, this strange remoteness? Rain falling from such a distance. Gould’s Goldberg Variations. Your hands.
Cormac McCarthy, All the Pretty Horses Drenched with dawn eohippus, smaller than a fox, walked out of chaos. She struck the sand. Water gushed from her hoofprint, drops flying through the air and where they fell the sky came down to rest and a thousand miracles of grass meadowed the desert. For centuries eohippus lived satisfied and self-contained then her legs and muzzle lengthened, muscles pushed against her withers, thickened her neck. Now, ready for the wind she made it lean and boneless, its mane and tail visible across the sky.
Before the First Word: The Poetry of Lorna Crozier by Lorna Crozier, Catherine Hunter