Breakwater Newfoundland Poetry Series: Sue Sinclair
Posted on November 26, 2013
By Susan Gillis
Rereading the poems collected here, it strikes me that this kind of liminal space is one Sue occupies regularly, at least in poetry. . . .
Poetry
Breakwater Newfoundland Poetry Series: Mary Dalton
Posted on November 20, 2013
By Lynn Davies
Some of Mary Dalton’s poems in the Breakwater anthology are brief stories or monologues informed by a vocabulary that also speeds up the telling. Reading “Bridesboys” and “Merrybegot” out loud to myself is a bit like being read to as a child; I hear strange words — brindy bough, upsot, nuzzle-tripe. . . .
Breakwater Newfoundland Poetry Series: Katia Grubisic Responds to Ken Babstock
Posted on November 14, 2013
By Katia Grubisic
With the publication of the 1999 Mean, from which two of the poems in the Breakwater book are taken, Babstock stood at the cusp of a new Canadian poetics — post-nationalist but snapped in place; as easily confessional as prevaricating, and sometimes simultaneously; and demanding such acrobatics of language. . . .
Breakwater Newfoundland Poetry Series: Al Pittman
Posted on November 5, 2013
By John Steffler
I was fortunate to meet Al shortly after moving to Newfoundland in 1975. My whole experience of Newfoundland opened through him and his family, through his parents, their stories and the times I spent in their generous company. . . . Photo courtesy of Newfoundland Heritage
Breakwater Newfoundland Poetry Series: Agnes Walsh
Posted on October 29, 2013
By Stan Dragland
The selection brings out Agnes’s muscular nostalgia for the individualistic Newfoundland past of which her father was a dear part. . . .
Breakwater Newfoundland Poetry Series: Tom Dawe
Posted on October 24, 2013
By Richard Kelly Kemick
Despite the multitude of successful Newfoundland poets to choose from, Mark Callanan and James Langer’s inclusion of Tom Dawe into Breakwater’s Contemporary Newfoundland Poetry Anthology may indeed have been a no-brainer. . . .
Introduction a New Ongoing Series: Poets Respond to The Breakwater Book of Contemporary Newfoundland Poetry
Posted on October 23, 2013
By Ian LeTourneau
Fiddlehead editor Ross Leckie and I reached out to poets across the country to get their perspective on the 11 poets selected. We didn't want an overly complex analysis of the featured work, nor did we want to call into question the editors' selection. We wanted poets simply responding to poets. . . .
Elizabeth Brewster 1922-2012
Posted on April 15, 2013
By Chasity St. Louis.
In The Fiddlehead's spring issue, due back from the printers very soon, we commemorate Brewster's career by reprinting several of Brewster's early poems that appeared in The Fiddlehead. Also appearing in no. 255 is a thoughtful essay about Brewster written by current UNB graduate student Chasity St. Louis. We're pleased to reproduce Chasity's piece, "Where We Come From: Elizabeth Brewster's Literary Legacy" here. Photo of Elizabeth Brewster courtesy of Archives Canada. Used with permission.
Taking Leave: Mindful Self-Reproach & the Repudiation of Cultural Gender Expectations in Danielle Deveraux’s “Playthings”
Posted on June 11, 2012
By Phillip Crymble
A Review of Danielle Devereaux's Cardiogram (Baseline Press, 2011)
The accolades for “Cardiogram”, the eponymous poem of Danielle Devereaux’s 2011 Baseline Press debut short collection have been many. From "Cardiogram"'s initial publication in The Fiddlehead 244 and subsequent inclusion in The Best Canadian Poetry in English 2011, to the attention it has received from reviewers at Salty Ink, Literatured.com, and elsewhere, it’s abundantly clear that this little poem has legs.
Show Me the Way to Go Home: Place & Belonging in Shoshanna Wingate’s Homing Instinct
Posted on March 14, 2012
By Phillip Crymble
A Review of Shoshanna Wingate's Homing Extinct (Frog Hollow Press, 2011)
Home and all of its accoutrements, conventions, and cultural imperatives are made accountable in Wingate’s collection as it moves inexorably towards the final reckoning we encounter in the closing poem. “Neighbours” and “The Cotton Mill” come early in the book, and as companion pieces, work to both establish and entrench the prevailing thematic locus. . . .
Pages
Current Issue: No. 298
