Book Club Notes: April

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For the month of April we are delighted to welcome author Cordelia Strube to lead our Book Club! She invites us to read Kate Caley’s How You Were Born. Here is why she chose this book.


I hadn’t read Kate Caley’s work before pulling How You Were Born from a box, one of ten or so boxes delivered to me as a juror for the Trillium Book Award.  Jury duty in the literary world expands the margins of writers’ minds because we are forced to read books that we might not otherwise have noticed, not because the books aren’t good but because we haven’t heard about them.  An independent publisher as outstanding as Pedlar Press does not have a publicity punch equal to that of corporate-powered Random House.  Jurors are given the opportunity to see beyond the packaging and promo and assess books from all publishers, large and small, that meet the award’s submission guidelines. get-to-know-them-first-how-you-were-born-short-stories-by-kate-cayley_alu_blogfeatured

Testing the pulse of each literary work, we diligently wend our way through the big name authors, best sellers and award winners as well as the emerging or lesser known ones.  Occasionally we are gobsmacked by a book so masterful that we write it down immediately in felt marker, alongside the penciled titles.  Kate Caley’s collection How You Were Born was such a marvel for me.  Two years later, her stories Boys and The Fetch continue to linger in my imagination.  Her skill as a playwright is richly evident in her use of dialogue.  Characters are revealed through behaviours and their use of settings, enabling us to learn about Caley’s worlds as her characters move through them.  Her use of specific, animate detail never slows the narrative and eases us into the complexity of the human condition.  With grace and pathos, Caley teases out unexpected insights, connections, dark secrets and moments of transcendence.

How You Were Born well deserved the Trillium Book Award.


Strube, Cordelia _by Mark Raynes RobertsCordelia Strube is an accomplished playwright and the author of nine critically acclaimed novels, including Alex & Zee, Teaching Pigs to Sing, and Lemon. Winner of the CBC literary competition and a Toronto Arts Foundation Award, she has been nominated for the Governor General’s Award, the Trillium Book Award, the WH Smith/Books in Canada First Novel Award, and long-listed for the Scotiabank Giller Prize. A two-time finalist for ACTRA’s Nellie Award celebrating excellence in Canadian broadcasting, she is also a three-time nominee for the ReLit Award. Her latest work On The Shores Of Darkness, There Is Light won the City of Toronto Book Award.

5 Questions with Majlinda Bashllari, Amanda Earl, Patricia Keeny, Jennifer LoveGrove, Nicholas Power and Dane Swan

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Majlinda Bashllari, Amanda Earl, Patricia Keeny, Jennifer LoveGrove, Nicholas Power and Dane Swan are six of the 20 participating poets competing in the Poetry NOW: Battle of the Bards. IFOA asked them about writing poetry and where they find their inspiration.

Want to hear them read live on March 29th? Event info, here!


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IFOA: What do you look for when reading poetry?

Majlinda Bashllari: New territories, striking images, brave figures of speech. Poetry is the highest form of human knowledge and the first exploratory tool of new realities. Through imagination and intuition, it enters in the darkest and most unknown macro and micro zones of the universe and opens up the ways for other forms of knowledge such as the philosophy, the exact sciences and technology to thrive and succeed.

Amanda Earl: I try not to look for anything. My mind’s open. Most recently I’ve been reading Lisa Robertson’s “3 Summers” and “Cinema of the Present.” I enjoy the intensity and sensuality of her imagery, the humour and play in her writing, the way she poses questions rather than answers them. In general I like poetry that is whimsical, imperfect, awkward and humble, connects with me in some way, and leads to more exploration.

Patricia Keeney: To go where I haven’t been.

Jennifer LoveGrove: I value the unexpected,  whether that’s in the language, the imagery, or conceptual concerns, I look for inventive ways these elements have been engaged and structured in a poem. I like to be surprised,  unsettled, destabilized by poetry.

Nicholas Power: I look for play in the form and tension in the line. I like to read poetry that somehow goes beyond the limits of the one writing it. I also enjoy the poet’s particular leaps, their sense of rhythm, and their understanding of poetic tradition without conformity. I look for poetry that isn’t simply about something, poetry that is something.

Dane Swan: Soul. When reading poetry I look for soul. If a poem has life, or is dirty, grimy and honest it will usually pique my interest. I’m not particularly interested in antiseptic writing that even an immature child can imitate. Poetry needs to have an energy that pulls the reader along. If the poem is dense, or is technically a lot to take in, as well as soulful, even better. Poetry is best when you’re driven to read it more than once.

IFOA: What do you love most about writing poetry?

Majlinda Bashllari: The hope that you can bring to life some good lines. When poetry is good, it turns into something bigger than the culture it springs from. Writing poetry is a challenge. Each time you sit and start a new poem, you realize that previous experiences mean very little or nothing at all. The fear of being repetitive, shallow, outdated is part of the process. You might become a master of the structure and lexicon, but could easily fail to give the right message. Timing is also another challenge even though we are taught to believe that poetry is timeless.

Amanda Earl: I like that I’m not beholden to convention. There are so many styles of poetry and no one style is the right one. This leaves the genre open to the possibilities of being broken (open).

Patricia Keeney: Going where I haven’t been.

Jennifer LoveGrove: Editing. I love best that stage of making a poem come together, when it finally begins to coalesce after a series of relentless tweaks and alterations – changing a word, a line break, a comma, deleting, rearranging, expanding, paring- until intuitively I know I’ve got it.

Nicholas Power: The surprises.

Dane Swan: I’m not sure love is the right word. Mind you, I’m not sure I even understand the word love. I’m simply personally driven to write. Whether people consider me a writer, or not, I’ll continue to write in some way, shape or form.

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IFOA: If you could only read one poet’s work for the rest of your life who would it be?

Majlinda Bashllari: The Polish poet, Wislawa Szymborska. One of the finest poets of all times. Her poetry embraces the wisdom of old and new times; she can see through the core of human nature. It’s a unique school for everyone who aspires to write about almost anything.

Amanda Earl: Anne Carson.  She always surprises. (But I’d like to mention Lisa Robertson again, also Mary Ruefle, Adrienne Rich, Sylvia Plath, Gwendolyn MacEwen, Anne Sexton.)

Patricia Keeney: Ted Hughes

Jennifer LoveGrove: Right now, it would be Kim Hyesoon. Her work contains much of what I prioritize: strange, disturbing neo-surrealist imagery and logic, feminism, the grotesque, emotional confrontation. Her poems surprise, amaze and excite me.

Nicholas Power: Jack Gilbert (The Great Fires, The Dance Most of All, Refusing Heaven)

Dane Swan: Probably Langston Hughes

IFOA: What inspires you?

Majlinda Bashllari: Human resilience. The ability to start fresh. Also Greek and Roman mythology has been a great source of inspiration for me.

Amanda Earl: A good kiss, the forbidden, new lovers, my husband’s Sunday crepes, meandering conversations with dear friends over a pot of strong tea, solitary walks downtown early mornings in the cold spring air, drinking a peaty whiskey and listening to Nine Inch Nails while soaking in the tub, Agnès Varda’s film, “Les glaneurs et la glaneuse (the Gleaners and I), Hélène Cixous’ “firstdays of the year,” Djuna Barnes, “Nightwood,” the music of Tom Waits, gin, the stark bone white of Georgia O’Keefe’s desert paintings, the glass flowers at the Harvard Museum of Natural History, dark eyes in the paintings of Leonora Carrington, the green of Max Ernst’s paintings, tangled gardens, broken glass, candour and integrity, quirky lingo, tall, handsome men, wearing red, saying no, saying yes.

Patricia Keeney: Life.

Jennifer LoveGrove: Other poets’ work. And life, especially the bad parts.

Nicholas Power: What inspires me as a writer are (to use Gerard Manley Hopkins list) All things counter, original, spare strange; found phrases and objects, quantum physics, paradoxes, particularities of gesture, tone and humour, literary non-fiction and science writing, poets and writers who have stayed with the struggle to advance the art form over time.

Dane Swan: What doesn’t inspire me? I’m inspired by everyone and everything I meet. The skill is in culling my inspirations; understanding which are worthy of sharing, and when to share each inspiration.

IFOA: What is one thing you have learned about yourself from writing your most recent collection?

Majlinda Bashllari: I am hard to please. (j/k!)

Amanda Earl: I learned that I love to do research, especially concerning the 20s and 30s. For “Kiki,” which is inspired and informed by artists and unbridled creative and licentious acts that took place in Montparnasse between the Wars, I read a lot of books and saw silent films, listened to music and watched a few documentaries about the era. I am still fascinated with that time period and continue to learn as much as I can about the personalities of that time and the work they produced.

Patricia Keeney: That the imaginative adventure never stops.

Jennifer LoveGrove: That the more I record and note my dreams, the more and better I remember them.

Nicholas Power: I feel that my work as a writer, especially in the form of poetry, where I freely associate through a wide range of source materials, has helped my receptivity in general. I also feel that this solitary work has helped me learn to sit with uncertainty, with imperfection and incompleteness.I’m also seeing how much I like to edit, in a positive way but also to rewrite, mess with, deviate from given texts.

Dane Swan: I’m not sure that I learned anything from A Mingus Lullaby. There’s a fair amount of research behind the collection, but I was more confirming what I already knew about Mingus. Technically, I merely put to practice concepts that I learned in the editing stages of Bending the Continuum with Elana Wolfe. I certainly didn’t come out of the experience writing this book as if it was spiritual — it’s a book. It’s a really good book. But, it’s just a book. Part of being a writer is becoming a good observer of others. The best way to hone that skill, is to initially observe yourself. A writer shouldn’t be suddenly surprised about themselves during the writing process. That’s a romanticized idea of how writing works. I’m constantly learning.

Poetry NOW: 9th annual Battle of the Bards

1 stage. 20 poets. 1 winner.

Our popular poetry competition returns in 2017 to feature 20 of Canada’s upcoming and established poets! One poet will receive an automatic invitation to read at the 38th edition of the International Festival of Authors AND an ad for their book and IFOA event in NOW!

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Poetry NOW FAQ

IFOA is inviting submissions for Poetry NOW: 9th annual Battle of the Bards. Even if you’ve submitted/presented work here before, please read our submission guidelines below:

POETS

So what’s this all about, anyway?

In 2009, IFOA posted its first-ever open call for submissions. Poets 35 and younger were invited to be part of a celebration of our 43 years in the reading series business. The standard of entries was astonishing, and the resulting event was one of the highlights of our year. The event returned in 2010, but was opened up to published poets of all ages. 2010 also saw a new partnership with our friends at NOW Magazine, and that collaboration continues to this year.

I’m pretty good, y’know. Will there be any sort of prize?

Oh yes. One reader will win an automatic invitation to appear at the 38th edition of the International Festival of Authors (October 19–29, 2017) AND an ad for their most recent book of poetry in NOW Magazine as well as an ad for their IFOA event! Not bad, eh?!

Who is eligible for Poetry NOW?

You must be published by a trade publisher in a collection that is all your own work (so anthologies, literary journals and magazines aren’t eligible). Your book must have been published within the last five years, and it must be currently in print.

This one seems kind of obvious, but you must also be in Toronto on March 29 and available between 5pm and 10pm. (We will not be covering car/train/boat/plane or accommodation expenses.)

I was part of last year’s event, can I still enter for the 2017 event?

Absolutely. We’d love to have you back.

What sets Poetry NOW apart from your regular weekly literary events?

We’ll be featuring 20 readers in one event, instead of our usual two or three. And we won’t be making a judgement call about who gets an invite. If you fit the criteria and your name gets pulled out of the hat, you’re in!

Do I need to pre-register? Or can I just sign up on the night?

Although we’re throwing open the call for submissions, we will be confirming the line-up several weeks in advance and liaising with publishers to promote the event according to our usual procedures. Submissions must be made by your publisher by Friday, February 24 at 5pm.

(See our submission guidelines for publishers below.)

What’s the closing date for submissions?

Friday, February 24 at 5pm.

How many authors will get to read at the event? And for how long?

20 authors will read for up to 3 minutes each.

How will you choose the readers?

Submissions that fit the above criteria will go into a draw. You have as much chance of being selected as the next person.

Who picks the winner?

Three judges.

When will I find out if I’m in?

Publishers will be notified and details confirmed by March 3. We’ll announce the line-up March 9.

What if I have more than one publisher? Can they both submit my work?

By all means, but we will only put your name in the draw once. (Also, see below re: books being for sale on the night of the event.)

Will my books be for sale at the event?

Yes, but we will require each presenting poet or their publishing representative to bring the books on a consignment basis. Your publisher can arrange these details with us once we have the line-up confirmed.

I have lots of friends/family/groupies. How can they all come and support me?

Tickets are $10 (free to our supporters, students with valid ID and youth 25 & under) and can be purchased online soon. Stay tuned!

Will there be a bar?

You betcha!

SUBMISSION GUIDELINES FOR PUBLISHERS

Please submit eligible titles by email to submissions@ifoa.org by Friday, February 24 at 5pm.

You must include the following information:

  • Name of Author
  • Brief bio
  • Eligible title(s) and their year(s) of publications

Please write “Poetry NOW” in the subject line.

And please let us know if we already have the book under consideration for our regular weekly event series.

Once the 20 authors have been picked, we will contact the relevant publishers to confirm details.

At that point, you will be required to send:

  • 3 copies of the book the author will be presenting
  • An author bio and brief synopsis of the book
  • An author photo and book cover image (both as high res. jpegs)

37 Reasons to attend the 37th Edition of IFOA

Wondering what the IFOA has to offer YOU? Here, in no particular order, are 37 reasons to attend the 37th edition of Toronto’s International Festival of Authors:

1.    You follow Canadian cartoonist, Seth, and found out he designed our poster

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 2.    You love Irish literature and the Festival is inviting a number of contemporary Irish writers.

 3.    You love the waterfront and the IFOA takes place at Toronto’s beautiful Harbourfront Centre, in the heart of the city and right next to the lake.

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 4.    You attend every year.

 5.    You can rub shoulders with Toronto’s literary community.

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 6.    October is the perfect month to cozy up to a new book

 7.    Your favourite author will be there and you just cannot pass up a chance to meet them.

 8.    You love #CanLit.

 9.    You have a few months to complete your new year’s resolutions to become a reader.

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10. It’s the best place to encounter international literature.

11. You’re an aspiring writer and want to learn more about the industry.

12. You’re an established writer and want to learn more about the industry.

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 13. You need fresh book recommendations. Look no further!

 14. Authors are your kind of celebrities.

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15. You pride yourself in attending all the major festivals in Toronto.

16. Reading for pleasure is your favourite pastime.

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 17. This is your chance to meet authors you’ve been reading for years.

 18. It’s the perfect book club outing.

 19. You want to get your favourite books signed.

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 20. You like to plan ahead and a beautiful signed book is a perfect gift for that special someone on your Christmas list.

 21. You’re a student and found out our events are FREE for you! Bring friends!

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 22. Where else will you find hundreds of prize-winning authors in one place?

 23. You’ll be surrounded by other book lovers.

 24. You don’t live in Toronto but found out that authors are toured around Ontario. They could be coming right to your hometown!

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 25. There’s something for all ages! The Toronto Public Library and IFOA are presenting Book Bash!

 26. You are new to the publishing industry and heard that the IV (International Visitors) Programme, brings professionals from all over the world.

 27. An IFOA stage is the best venue to hear an author read live.

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 28. You know you won’t have to go through Festival withdrawal, because there’s a weekly reading series throughout the year. Score!

 29. You are hoping to meet a bookish crowd/mate!

 30. You want to be part of a literary tradition that’s been going on since 1974.

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 31. You’re a librarian or teacher looking for new book ideas for your students.

 32. You’ve followed us on Twitter for ages and now you want to see what the fuss is all about!

 33. You want to visit Toronto and take in the best culture the city has to offer

 34. You can get an awesome deal with our flex pass, and get 6 tickets for $90!

(Call our box office at 416-973-4000 for details/purchase inquiry!)

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 35. The Festival invites authors from over 15 different countries.

 36. You want to check off another Word Alliance festival from your bucket list.

 37. It’s going to be great and you don’t want to miss out!

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Five Questions with…Matt Rader

Matt Rader, the author of Desecrations, and a Toronto Lit Up participant answered our five questions.

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 IFOA: Tell us a bit about your latest collection of poetry.

Matt: This is a collection celebrating in the ruins, listening for music in a room of silent instruments. It has a heavy title and the poems sometimes try to look dark places in the eye–colonialism, failing health, banishment–but these are mostly love poems, the kind of love that persists when there’s no longer any reason to love except that you want to.

IFOA: You’re an Associate Professor at the University of British Columbia, Okanagan, as well. Have you found teaching creative writing has affected your own writing at all?

Matt: I’m constantly humbled by the brilliance, fearlessness, and vigour of the people I encounter in my work. Trying to support other people to develop their relationship with their own imagination is baffling and mind-blowing. It has given me an even deeper and more profound respect for my teachers. I hope it has made my writing more open. These answers feel a little more ethereal than I intend them.

IFOA: Who are some of your favourite poets you can recommend to our readers?

Matt: Michael Longley and Larry Levis have been twin influences throughout the writing of these poems. Elizabeth Bishop and Gwendolyn Brooks are two others I return to again and again. Everyone in Canada should read Russell Thornton. Maggie Nelson changed my life.

IFOA: Where is your ideal place to write?

Matt: I don’t have an ideal place: it depends on the project. Some of Desecrations was written in a farmhouse in the Irish Midlands and I loved it because I woke in the morning, made coffee, wrote, read, walked the fields, and talk to no one.

IFOA: What’s next for you?

Matt: It’s too early to tell.  As Frank O’Hara, one of the resident ghosts of Desecrations, once wrote: “Grace / to be born and live as variously as possible.”

 

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