By Robert Colman Books discussed: Complete Physical by Shane Neilson (The Porcupine’s Quill, 2010) On Shaving Off His Face by Shane Neilson (The Porcupine’s Quill, 2015) Dysphoria by Shane Neilson (The Porcupine’s Quill, 2017) According to Deadly Force, a...
Kamloopa is an Indigenous artistic ceremony that follows two urban Indigenous sisters, Kilawna and Mikaya, and their new friend, Edith, as they struggle in their own ways to understand themselves and their cultures. As they each come to terms with what it means to reconnect with their homelands, ancestors, and one another, it becomes clear that this story is not a hero’s journey; it doesn’t follow the “typical” three act play in structure or story arc. The artistic ceremony focusses on kinship relations, rather than a central conflict: this is a journey between women, a journey that happens within, between, and outside of themselves. It’s a journey that happens on Indian time: existing now, bringing the past, and holding the future. As the three women move through the world, they face issues of assimilation, disconnection, and loss, and the audience is witness to every ignorant, painful, funny, and awkward moment of what it means to find your way home again.
Even our finite world is brimming with choices, possibilities, transformations—this struck me as the main tenet in Klara du Plessis’ debut collection, Ekke. Her resonant poems, influenced by landscape, place, the body, and art, explore the exciting and multitudinous influences that act upon us in this seemingly concrete world. Continue reading Stones Skipping Across Water: On Klara du Plessis’ Ekke
There’s a moment towards the end of Kudos, the final installment of Rachel Cusk’s groundbreaking Outline trilogy, when the whole work—hundreds of pages of characters and conversation—abruptly and elegantly folds in on itself, smaller and smaller until, like a magic trick, it fits inside a single, luminous image. On her way to dinner in an unnamed European country, our narrator, Faye, is pulled off on a detour by her companion. Their destination is an old church that was completely ravaged by fire some fifty years earlier: the paintings and statues destroyed, the stonework “split into two by the heat.” Instead of restoring the church, Faye’s companion explains, the damaged interior was left untouched and reopened for worship. On her first visit, she had found the blackened interior so distressing she had wanted to scream. But then she realized the scorched walls were covered with something like images, ghostly shapes and textures left by the flames:
Chelene Knight’s new memoir Dear Current Occupant, defies traditional genres of writing through its inherent hybridity and fragmentation. The book delves into Knight’s childhood past, exploring her experience of growing up while moving in and out of twenty homes in East Vancouver. Knight weaves poetry, essays, letters, and photographs together to create a work that is halting and profoundly moving. Knight’s fragmented approach succeeds in exploring the truths of her past more than any conventional, linear method could.
Reviews by Esther Chen Tell Everybody I Say Hi by Tess Liem Anstruther Press Tess Liem’s first chapbook opens with a short piece that sets the tone for the rest of the collection. Liem writes “I, a compartment & careful, ...
Raina von Waldenburg’s play 12 Minute Madness starts simply: a janitor sweeps the bare stage before the MC, one face of protagonist Marlena von Twattenburg, makes introductions. It’s a gentle introduction to a show that very quickly, and with...