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Poetry Reviews

Manahil Bandukwala: The edge is impossible to see at all, Review of A knife so sharp its edge cannot be seen by Erin Noteboom

In A knife so sharp its edge cannot be seen, Erin Noteboom merges her background as a particle physicist with poetry. She excavates intangible and indescribable moments from scientific experiments to blur lines between worlds that otherwise seem separate.

Katia Grubisic: Different Fruit, Review of Little Wet-Paint Girl by Ouanessa Younsi and translated by Rebecca L. Thompson

“My parents peeled me like a fig. I was a different fruit each day.” Is the self the me, an object created, or the I, with self-knowledge and even agency over its own definition? In Métissée, ably rendered in English by translator and scholar Rebecca L. Thompson as Little Wet-Paint Girl, Québec poet Ouanessa Younsi brings multiple possible selves together in a collision complicated by mixed cultural heritage.

Gary Barwin: A Radiant Incipience: Build a Wind Turbine or Get Out of the Way, Review of Plenitude by Daniel Sarah Karasik

Daniel Sarah Karasik’s Plenitude is not only a cogent articulation of trans experience, identity and rights, but an incisive systemic reading — often a socialist or Marxist reading — with several side trips to consider Jewishness. By situating gender, queerness and identity within the larger context they bring a broader analysis of how culture can subsume and often commodify the personal. And because this is poetry, we’re aware that the tropes of lyric positionality (including the lyric “I”) are also implicated.

Emily Skov-Nielsen: “What am I / Water’s Bitch?” Review of Wet Dream by Erin Robinsong

While considering my sprawl of notes from my reading, and re-reading, of Erin Robinsong’s second full-length book of poetry, Wet Dream, and wondering how to begin this review, I called to mind the following quote from Lewis Carroll’s Alice in Wonderland:

“Curiouser and curiouser!” Cried Alice (she was so much surprised, that for the moment she quite forgot how to speak good English), “now I’m opening out like the largest telescope that ever was!”

Kevin Bushell: Poetry — not a jeux des mots but a weapon used to battle for historical truth, Review of The Ventriloquist: Poetic Narratives from the Womb of War by Gary Geddes

The current geo-political events in Ukraine make the release of Gary Geddes’ latest collection, (The Ventriloquist: Poetic Narratives from the Womb of War (Rock’s Mills Press), all the more timely. Geddes has gathered in this one collection four previous books on the theme of war: Letter of the Master of Horse (1973), War & Other Measures (1976), The Terracotta Army (1984), and Hong Kong Poems (1987).

Susan Haley: a collection of confessional poetry, Where the Sea Kuniks the Land, Ashley Qilavaq-Savard.

What is the source of joy we find in poetry? That thing that caused the prickle of A.E. Housman’s beard, that transfixed Anne of Green Gables in her desk when the teacher read Tennyson’s line, “The horns of Elfland faintly blowing.” It is what comes not from going about the woodland to see the cherry hung with snow, but evoking it in those very words, and with the delicate metaphor implied.
 

Pre-Order the Winter Issue Today!

 

The forthcoming Winter 2023 issue of The Fiddlehead is now available for pre-order! 

The issue will feature the winning story from The Fiddlehead's 2022 Fiction Contest, as well as work from talented writers such as Alice Zorn, Abu Bakr Sadiq, Kate Cayley, Brian Bartlett and many more.

Pre-orders will be in the mail by the end of January. To order your copy click the appropriate link below: 

Canadian Addresses

John Barton: Gay Canlit Icon: A Review by KIRBY of John Barton's "We Are Not Avatars"

John Barton: Gay Canlit Icon

We Are Not Avatars, John Barton. Palimpsest Press, 2019.

When I told a friend I was about to write a review of We Are Not Avatars (Palimpsest Press, 2019), a collection of John Barton’s essays, memoirs, and manifestos, they looked at me quizzically and suggested I’d set myself on an unrealistic challenge, for how can anyone critique an icon? My friend gave me pause because I never considered John Barton to be one.

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