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The three volumes of Always Now contain all of Margaret Avison's published books of poetry. The author has removed a very few poems: `Public Address' (from Winter Sun), `The Two Selves' and `In Eporphyrial Harness' (from The Dumbfounding), `Highway in April', `The Evader's Meditation', and `Until Christmas' (from sunblue), `Living the Shadow', `Insomnia' and `Beginning Praise' (from No Time), `Having Stopped Smoking' and `Point of Entry' (from Selected Poems). The opening section of volume one, `From Elsewhere', is arranged according to date of publication, from 1932 to 1991, the date of Selected Poems. `From Elsewhere' includes the `Uncollected' and `New Poems' of that book, except for the two noted above and `The Butterfly', which is here in its original form. All of the poems in Always Now having been considered and reconsidered, and small corrections having been made, the book contains definitively all of the published poems up to 2002 that Margaret Avison wishes to preserve.
The three volumes of Always Now contain all of Margaret Avison's published books of poetry. The author has removed a very few poems: `Public Address' (from Winter Sun), `The Two Selves' and `In Eporphyrial Harness' (from The Dumbfounding), `Highway in April', `The Evader's Meditation', and `Until Christmas' (from sunblue), `Living the Shadow', `Insomnia' and `Beginning Praise' (from No Time), `Having Stopped Smoking' and `Point of Entry' (from Selected Poems). The opening section of volume one, `From Elsewhere', is arranged according to date of publication, from 1932 to 1991, the date of Selected Poems. `From Elsewhere' includes the `Uncollected' and `New Poems' of that book, except for the two noted above and `The Butterfly', which is here in its original form. All of the poems in Always Now having been considered and reconsidered, and small corrections having been made, the book contains definitively all of the published poems up to 2002 that Margaret Avison wishes to preserve.
The three volumes of Always Now contain all of Margaret Avison's published books of poetry. The author has removed a very few poems: `Public Address' (from Winter Sun), `The Two Selves' and `In Eporphyrial Harness' (from The Dumbfounding), `Highway in April', `The Evader's Meditation', and `Until Christmas' (from sunblue), `Living the Shadow', `Insomnia' and `Beginning Praise' (from No Time), `Having Stopped Smoking' and `Point of Entry' (from Selected Poems). The opening section of volume one, `From Elsewhere', is arranged according to date of publication, from 1932 to 1991, the date of Selected Poems. `From Elsewhere' includes the `Uncollected' and `New Poems' of that book, except for the two noted above and `The Butterfly', which is here in its original form. All of the poems in Always Now having been considered and reconsidered, and small corrections having been made, the book contains definitively all of the published poems up to 2002 that Margaret Avison wishes to preserve.
Margaret Avison, one of Canada's premier poets, is a highly sophisticated and self-conscious writer, both charming and intimidating at the same time. She calls to mind her more famous predecessors--the religious poets George Herbert, Gerard Manley Hopkins, and T. S. Eliot--as she vigorously engages both heart and intellect. "She has forged a way to write against the grain, some of the most humane, sweet and profound poetry of our time," write the judges of the 2003 Griffin Poetry Prize. Becoming a Christian in her mid-forties, her life and her vocation were transformed and her lyrics record that shift. In "Muse of Danger," she writes to Christian college students, "But in His strange and marvelous mercy, God nonetheless lets the believer take a necessary place as a living witness in behavior with family and classmate and stranger, in conversation, or in a poem." How she blends her twin passions of poetry and Christian faith becomes a story of a kind of perseverance. Readers who respond with understanding and empathy recognize both the distinctive mystery of poetic witness and the mystery inherent in Christ's saving work to which it points. Her enduring witness becomes an implicit call for us to persevere in what Avison identifies as the "mix of resurrection life and marred everyday living."
Over 3,200 entries An essential guide to authors and their works that focuses on the general canon of British literature from the fifteenth century to the present. There is also some coverage of non-fiction such as biographies, memoirs, and science, as well as inclusion of major American and Commonwealth writers. This online-exclusive new edition adds 60,000 new words, including over 50 new entries dealing with authors who have risen to prominence in the last five years, as well as fully updating the entries that currently exist. Each entry provides details of a writer's nationality and birth/death dates, followed by a listing of their titles arranged chronologically by date of publication.
The sixth volume of the Porcupine Quill’s acclaimed series of ‘Essential Poets,’ this collection provides an excellent introduction to this prominent Canadian poet and the evolution of her work. Robyn Sarah’s selections amply celebrate Avison’s diverse styles and forms, and reveal Avison’s unique perspective on and response to her world. Here, one can experience Avison’s dazzling diction (‘‘a saucepantilt of water,’’ ‘‘birds clotted in big trees’’), her metaphoric and tonal complexities, and her quiet examination of the world in which she lived. The Essential Margaret Avison also traces her movement from skeptical intellectual to committed Christian. Though some scholars have dismissed her later religious poetry as simplistic and inferior to her earlier work, the truth is more complex, and the line between what is religious and what is not in Avison’s poetry is difficult to draw. Robyn Sarah describes how Avison’s work became ‘‘more and more a poetry of inquiry, an inner pondering of her daily givens,’’ in which her experience of the worldly and the transcendent are inextricably tied. Margaret Avison, honoured by the Griffin Prize and twice by the Governor-General’s Award, was named an Officer of the Order of Canada in 1985, and died, at the age of 89, in 2007. This singular poet’s legacy is well represented in Robyn Sarah’s thoughtfully chosen selection.
Wider Boundaries of Daring: The Modernist Impulse in Canadian Women’s Poetry announces a bold revision of the genealogy of Canadian literary modernism by foregrounding the originary and exemplary contribution of women poets, critics, cultural activists, and experimental prose writers Dorothy Livesay, P.K. Page, Miriam Waddington, Phyllis Webb, Elizabeth Brewster, Jay Macpherson, Anne Wilkinson, Anne Marriott, and Elizabeth Smart. In the introduction, editor Di Brandt champions particularly the achievements of Livesay, Page, and Webb in setting the visionary parameters of Canadian and international literary modernism. The writers profiled in Wider Boundaries of Daring are the real founders of Canadian modernism, the contributors of this volume argue, both for their innovative aesthetic and literary experiments and for their extensive cultural activism. They founded literary magazines and writers’ groups, wrote newspaper columns, and created a new forum for intellectual debate on public radio. At the same time, they led busy lives as wives and mothers, social workers and teachers, editors and critics, and competed successfully with their male contemporaries in the public arena in an era when women were not generally encouraged to hold professional positions or pursue public careers. The acknowledgement of these writers’ formidable contribution to the development of modernism in Canada, and along with it “wider boundaries of daring” for women and other people previously disadvantaged by racial, ethnic, or religious identifications, has profound implications for the way we read and understand Canadian literary and cultural history and for the shape of both national and international modernisms.
A Globe and Mail Best Book of the Year Margaret Avison was widely acknowledged as one of Canada’s foremost poets. Taut, sublime, subtle, and crystalline, the poems in her brilliant new collection, published posthumously, showcase Avison at her best, and constitute the final chapter in an extraordinary artistic legacy that spanned more than forty years.
Going Top Shelf brings together for the first time in one collection some of Canada's best hockey poems and song lyrics. Included are works by such outstanding Canadian poets as Michael Ondaatje, Al Purdy, Margaret Avison, Don Gutteridge and Lorna Crozier. And for music lovers with a taste for contemporary Canadian music, this entertaining collection includes lyrics by The Tragically Hip, The Rheostatics, Kathleen Edwards, Stompin' Tom Connors, and others. Going Top Shelf represents a cross-section of Canada 's poets and composers, ranging from 19th-century romantic poet Sir Charles G.C. Roberts to contemporary pop songstress Jane Siberry. Altogether, more than 30 authors and songwriters from across Canada reflect an intriguing diversity of forms and literary expression. Yet in all the poems, ice--or the sport played to extensively in Canada upon it--is used to express the ideas, beliefs and attitudes of this diverse group of Canadian authors. For the poetry scholar, for the lover of good music, for the hockey fan, this is a collection to be enjoyed. Indeed, Going Top Shelf represents a literary "top shelf" of hockey poetry without equal.