Showing posts with label Damian Rogers. Show all posts
Showing posts with label Damian Rogers. Show all posts

Sunday, 21 February 2016

Sunday Poem


THE WARLOCK'S FORELOCK 
The rain reminds me how I fell
in love with steel drums as a girl 
in Detroit’s Hart Plaza, wanted to hear
that patterned ting-ping-ping all day 
while brushing my teeth, while reading
my horoscope in the Free Press
while unpacking a packed lunch.
My son’s father pours me a glass 
of terrible wine. We joke it has notes
of strawberry, rhubarb, and lake trout. 
I watched a decades-old documentary
in which the author’s father handled 
hemlock on an island outside Ottawa.
My father tells me I’m his greatest 
regret. He means not knowing me, one
hopes. It reminds me of a dumb song. 
My son is asleep after drinking from me
too soon after I consumed that bad booze. 
When I was 22 I drank a bottle of rosé
and zonked out under a tree beside 
the intended tent. I was in a campground
in Menton. France. That’s all I remember. 
Also: the English girls I travelled with didn’t
much love museums. Did I see Jean Cocteau’s 
chateau? Maybe. My son thinks I’m perfect
when I do nothing but lie silently in a room 
feeding him while I try not to dwell on
my mother’s bills so that worry won’t 
pass from my nervous system into his. One
time I drank a rancid mud-thick brew 
that made me see snakes in the floor tile.
I thought I was the Virgin Mary, radiant 
and swaddled in borrowed white skirts
issued to shield my ovarian vibrations. 
We stood up and sat down as we sang
allegedly magical phrases in Portuguese. 
One guy saw light shoot out of my head.
Tonight, I tune the rain. Our least-favourite 
cat trapped in the worst of it. I felt
love as we rescued him from his tiny 
terror. Once he was safe I lost interest.
I cried this afternoon. It’s my new thing.
By Damian Rogers, from Dear Leader (Coach House, 2015)
(Illustration by Sean Lewis)

Wednesday, 24 June 2015

A Different Degree of Awakeness


What is poetry? Damian Rogers takes a stab at an answer:
I feel like poetry is an experiment with consciousness. And it’s funny, people who are very sophisticated about other areas of the arts feel very shut out of poetry. No one stands in front of a Mark Rothko and goes, What does it mean?!—actually, that’s not true, some people do. But people who would absolutely accept that painting on its own terms, or a Basquiat, something that is maybe somewhat figurative but moving into some kind of abstraction—it’s an experience. They accept the idea that, standing in front of this painting, you experience the painting. It’s not a Rubik’s cube.

Poetry is text, and we’re still very attached to the idea that language is supposed to communicate something clearly. But I do think all good poetry does communicate something clearly, it’s just that, for me—and there’s some narrative, very straightforward poetry that I really enjoy, but there’s a lot of poetry that I really enjoy because what it’s communicating to me very clearly is either an atmosphere, or a state of consciousness. A different degree of awake-ness to experience.

Saturday, 21 February 2015

Mentored by Example


Damian Rogers' friendship with the late poet Elise Partridge taught her some valuable lessons:
Sometimes I feel burnt out by how marginalized the poetry world seems and how fractious it can be. It’s easy to feel trapped between the poles of online sniping among those within the community and the apparent indifference of those outside it. But watching Elise work on what she knew would be her last book was an absolute inspiration. She didn’t compromise on a comma. And she maintained that integrity while expressing only kindness and warmth and appreciation for everyone involved throughout every stage of the publishing process. I said this somewhere else, but she mentored me by example. I didn’t realize how much she taught me until it was too late to thank her.

Wednesday, 4 February 2015

Elise Partridge 1958-2015



I was finishing up a short email to Elise Patridge when I was told of her death Sunday afternoon. The news wasn’t surprising—Elise was diagnosed with terminal colon cancer last February—but I had hoped to see her one final time. As her prognosis worsened, she and her husband, Steve, decided to rent an apartment in midtown Manhattan where, if her stamina from the “chemo tortures” held up, she planned receive friends and family off and on this spring. It was pilgrimage I was determined to make. But three weeks ago she sent around a message saying that circumstances had forced her to abandon that plan (with characteristic generosity, she also offered the New York apartment to whoever might like to make use of it). Clearly, things were escalating quicker than anticipated. Her email weighed heavily on my mind and I decided to send a note asking after her condition. That my email will now forever stay unsent is, frankly, intolerable. My friendship with Elise dates back to 2001, when I read two poems of hers in the summer issue of Fiddlehead and, after getting her address from Ross Leckie, invited her to submit a manuscript to Vehicule press. We published Fielder’s Choice, her spectacular debut, the following year. Ever since, not a month has gone by without a morsel of correspondence from her. She sent pep-talks, rants, reports, advice, updates and detailed responses on my reviews and poems. She inquired constantly about my job, family (and most recently mailed my 12-month-old, Matteo, a christmas package of clothes). The fact, emerging from the stories being told, that she was conducting similar exchanges with dozens of poets all over the country is staggering, and breaks my heart all over again for the tremendous loss of her passing.

I’m not sure I can add much more to the lovely testimonials that have already appeared online, and I’m going to husband whatever ideas I have about her poetry for a longer piece about her upcoming (and now posthumous) book The Exile’s Gallery. But I thought it might be helpful to collect the reactions to her death in one place and maybe provide some of them—Facebook and Twitter being notoriously ephemeral—with a slightly more permanent home.


















Working with Elise Partridge reminded me what true passion, commitment, integrity, intelligence, and humility look like when combined in one massively talented artist. Reading her poems is being in the presence of a mind fully engaged. She will be missed.
Damian Rogers
Elise Partridge was the most amazing person I've ever had the privilege to know. Working with her on her book was an absolute professional highlight for me... I wish I could tell her how much she mentored me, especially in these last few months, on how to be an uncompromising artist and a beautiful, compassionate, loving person at the same time. Her integrity, her kindness, her bottomless support and enthusiasm and gratitude for the work of others, even when she was suffering... I will hold these lessons close for the rest of my life.
She would never have agreed with Larkin that "death is no different whined at than withstood." And she never succumbed to despair, facile or otherwise. Her oeuvre is full of poems about death, but they are playful, virtuosic poems, acts of resistance, testament to the size of her spirit, the defiance of her breath.
Gillian Jerome 
Elise Partridge died last night. What a talented poet she was. What a formidable person. The last time I heard from Elise was about a month ago. She wrote to apologize that she wouldn't make it to hear Helen Guri and I read. Meanwhile, she was dying. All that love.
Last year, when my friend Elise Partridge knew she was dying, she asked me to keep her memory alive by teaching her poems. Which was an easy request to honour since Elise's poems are exemplars on many subjects. Elise passed away last night. On Tuesday my 3rd year poetry workshop is set to discuss the elegy. I'd planned to bring this poem which tonight seems exactly as Elise would have wanted it--an elegy for someone else as a poem to remember her by: http://www.poetryfoundation.org/poem/248140
Rob Taylor
Looking back, I am humbled to have been included among the lucky few (or many) that Elise connected with, and in awe at the scope of her giving even in a time of great illness. Or, I should say, in awe that the illness changed nothing, that this giving out of hers was not an expendable part of her daily routine but simply was her life. What could she do but live it?
Chris Patton:
My dear dear friend Elise Partridge passed away yesterday evening. She was a marvellous poet and an even more so person. Warm loving acute witty skeptical wry and humane. I am sort of reeling with it (though her death was known to be coming for a while) and don’t have much more to offer than that right now. Here though the first lines of the first poem (“Everglades”) of her first book (Chameleon Hours) —

Nothing fled when we walked up to it,
nor did we flinch

Not a bad note on which to open a life’s work. No fear and no frightening. God I’m going to miss her.

Wednesday, 26 October 2011

VPC125

Vancouver was fantastic. Everyone came ready to play. The panels crackled. And the conversations—which often went into the wee hours—were partisan and passionate. Some of the best four days I've had in a long time. I feel very lucky to have been a part of it. For the curious, I've gathered up some of the (mostly blurry) iPhone pics that have been circulating.

(Left to right: Gillian Jerome, Ben Doller, the back of my head, Sandra Doller, Melanie Siebert, Christian Bök, Silas White, Katia Grubisic, Srikanth Reddy, Matthew Zapruder)

(Left to right: Jeramy Dodds, George Murray, Ken Babstock, Helen Guri, David Seymour)

(Michael Lista, Ken Babstock)

(Christian Bök, Darren Wershler)

(David McGimpsey, Darren Wershler)

(George Murray, Damian Rogers)

(Ken Babstock illustrates Matthew Zapruder in action)

Thursday, 24 December 2009

What I liked in 2009


Friends have been busting my chops to make public my favourite Canadian poetry of 2009. Since I've always had a weakness for bad advice, I’ve gone ahead and nailed my colours to the mast (if you're impatient, skip down the end).

To be frank, this sort of best-of exercise always leaves me in some distress because I have to overlook the books I feel strongest about, namely the titles I shepherd into print for Vehicule press. In 2009, those would be: Pure Product by Jason Guriel, Animals of My Own Kind by Harry Thurston and Boxing the Compass by Richard Greene. Each of these poets, while plainly unpigeonholeable, exemplify in their practice the values I’ve been trying to “brand” at Signal Editions: poetry that has a premium on intellectual idiosyncrasy, is technically mettlesome, brandishes an exacting sense of diction (but also allows for moments when that diction takes leave of its senses), and is bullshit-free.

So those three books, heartbreakingly, aren't on my list. Also missing are a couple of formidable collections whose only sin is that I guest-edited them: Figuring Ground by Robert Moore (Wolsak & Wynne) and Trace and Track by Zach Wells (Biblioasis).

So what's left? A list rich in authentic, affecting, well-rounded, unposturing poetry. What drew me to these ten books, however, wasn't their Goldilocks proportionality (not too hot, not too cold, just right) but that they were working at full poetic boil. They were also -- except, of course, for Rogers -- arresting advances on the respective poet’s prior books (especially Klassen who emerged as a far more exciting poet than I remember). In fact, I feel like our entire poetry scene has, over the last decade, teleported itself into a new level of ambition, with poets now sniffing out property values at the top of Parnassus (a topic I touched on here). We are becoming what Charles Simic -- in his essay “The Trouble with Poetry” -- called “a carnival of styles,” or poetry “that has the feel of cable televison with more than three hundred channels.”

Enough palavering. Here are the ten books I think 2009 might be remembered by.

Jane Again (Biblioasis), Wayne Clifford
Lean-to (Gaspereau), Tonja Gunvaldsen Klassen
Meniscus (Bibloasis), Shane Neilson
True Concessions (Goose Lane), Craig Poile
Paper Radio (ECW), Damian Rogers
Pause for Breath (Biblioasis), Robyn Sarah
Pigeon (Anansi), Karen Solie
Seaway: New and Selected Poems (Salmon Publishing), Todd Swift
The Hayflick Limit (Coach House), Matthew Tierney
Mole (Anansi), Patrick Warner

Honourable mention: Oneiric (Frog Hollow Press), Nyla Matuk