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. . . .
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. . . .
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. . . .
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.