Pearl Pirie’s lists, reviews, interviews, etc. since 2005

Round Up Linky Links

I mean to get to listening to all this John Newlove recording from 1968.

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Watching 2009’s Hamlet. It makes so much more sense to have a man stagger and cower than a page’s exclamation mark.

MacBeth is listed at Cineplex but with no showtimes even though worldwide release was Feb 5 and it’s showing in NYC this week.

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ICYMI, a post about Lana’s Pinhole launch may have got lost in teh shuffle.

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Also, Aha, Poetry is disintegrating so I salvaged Jane Reichhold’s kasen renga formats and put them under templates.

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In files I found I epigraphed a poem ““seeing the mourner’s white dress/I become comfortless” (The Mourner, Songs collected in Gui) but from which book? Some Tang collected but which?

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Already I have fallen off my record keeping of which poems I sent out this year.

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I wrote a poem. I wrote 16 in the day, but 2 I think have legs. So long as I don’t look at them too long and hard. Here’s one,

Pedant upon not finding

the Philip Larkin book
I had a decade ago—
thinned out, lent or misfiled—

I’m mollified by a third Stanley
Kunitz I forgot I got and its
red tab flagging it “to read”.

a mellower more delicate
rinse after bellicose, crass
Irving Layton that reminds me

unflatteringly of Uncle who
took puffs from cigar as he sat
in a golf cart with oxygen tank

yet kindly didn’t blow us to Kingdom Come.
once he told me, matter-of-factly:
to be feminist was to be a lesbian

marriage wrecker, and further,
“histrionic” had the same
greek root as “hysterectomy”

his proof: women are drama queens.
the first I discarded as implausible,
the rest I didn’t fact-check. to emote

is not uterine. the fish that slips.
off the line. “this prize belongs
to no one”* so I note, and let us all go.

*Stanley Kunitz, “The Catch”

I’ll let it sit and bother me that all the people cited are dead white men.

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Today’s reads from:

Nothing Without Us Too, ed. by Cait Gordon ad Talia C. Johnson (Renaissance Press, 2022) [fabulous! I’m consuming it entirely too fast], Jessica Corra “this was a benign reminder”

I Am So Calm by Alice Burdick (above/ground, 2025),

“Pleasure is a thing that doesn’t rely
on passive joy. Active surprise
a way to the whole mind.”

Elegy for Opportunity by Natalie Lim (Wolsak & Wynn, 2025) “maybe the apology is closet than you think”, and

Touch the Donkey #44 with Jennifer Firestorm “my limits immitate my worst habits”.

It is pleasure, not penance to read women too.

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So you can’t take a deep breath. Can you visualize yourself in a safe place? Inside an embrace? Face buried in a shoulder, ears cupped away from noise? No where else you have to be.

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Remember to water, feed, listen to, and walk your body. You’re not just mind.

Links, Thinks

I have a resources page where I share stuff. Just added is a checklist for what to bring when you table at a book fair. There are also tips for authors photos, how to run a reading series, templates for chapbooks, a spreadsheet template for logging your reading.

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In the further framing commercial scarcity model vs. abundance model, people who share haiku online, knowing it will make those poems ineligible for contests and magazines, win my admiration. Like, Charlotte. What does hoarding a poem until a reward with publication do? A publication is laminating a marginalia jotting on a newspaper clipping. Poems if shared are broadcast, exchanged, but pinning to a submission window of small paywalled patrons limits the ideas, corrals them when they could be free to bounce against other ideas.

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From Peer Gynt “We are songs;/You should have sung us! /Thousands of times/You have stifled us./We have been waiting/Under your heart,/But were never sent for./Death to your voice!” Peer: And death to you, you ludicrous jingle! What time did I have for versifying”

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Movies, shows, writing with hooks all can exacerbate the priority of crisis, the one inevitable outcome, awfulized emoting instead of creative various directions of solutions and de-escalations. Like anything so long as we remember it is silliness and play but we train the brain by every act, yes? Filtering in a reductionist way is funny unless you believe it’s getting at the underlying binary real vs. lie.

an emotion
is a thought the body has—
branch broken by wind

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Being present isn’t monitoring reaction/reactivity, body but unsticking, and seeing inward and outward, not judging, assessing, but seeing. As in how to survive.

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Not poetry but flipping perspective of defaults for cars.

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“Discipline is choosing between what you want now and what you want most” said a meme, echoing Dolly Parton in interview once, saying something like, a want is just a wish if you don’t back it up with action.

Read, in the Head

I am trying to read more in translation, more from earlier times, some for poetry research, more from people with different life experiences. I aim to finish up books started months ago.

Every day, some reading, some new writing and some editing.

Those are the goals. I’ll bold those I’d particularly recommend. The only I wouldn’t would be Blindsight. Anomie and paranoid menace and somehow a sustained anti-climatic. End notes were good tho.

  • Amoebaverse by GayDemonicDisaster (AO3, 2024): only 3 pages but casts Good Omens in a microscopic world.
  • Hidden Canvasses by Catartkid and Vampiremama (AO3, 2024)
  • Wales Haiku Journal, fall 2024, edited by Joe Woodhouse and C.X. Turner (Wales Haiku Journal, 2024)
  • Yankee in Quebec by Anson A Gard (1902)
  • Sky Clear Blue by klikandtuna (AO3, 2024) pairs time travelling and queerness, in 1800s vs. an affirming now where friends have each other’s backs.
  • Sweet Vinegars: poems of wildflowers by Claudia Radmore (Shoreline, 2024), elegant concise varied poems that are hard to summarize, about flowers and as a framework
  • Uncle Sam in Quebec by Anson A. Gard (1902)
  • Heliotropia: poems by Manahil Bandukwala (BrIck, 2024) are love poems without the grief of loss partnered with the galaxy and reference to Star Trek in a few cases
  • The Weight of Oranges: poems by Anne Michaels (M&S, 1997), the first half in particular are meaty slowly built poems that are lyric in a way I can appreciate
  • Small Arguments: poems by Souvankham Thammovongsa (M&S, 2003, 2023) is her first book, reprinting what she self-published. Extremely concise and minimalist.
  • Blindsight by Peter Watts (Tor, 2006)
  • The Gospel of Us by Owen Sheers (Seren, 2012) I’d boldface conditional on if you also saw the movie.
  • Light Carved Passages by Frances Boyle (Sundress, 2014, 2024)
  • Gusts: Contemporary Tanka, Issue 40, fall/winter, 2024, (Tanka Canada, 2024)
  • playing into silence by Tina Biello (Dagger Editions/Caitlin, 2018)
  • the twilight saga: the official illustrated guide by Stephanie Meyer (Little Brown, 2011)
  • Another Boring Canada Day: Ten Micro A–Zed Acrostics by Kevin Stebner (MODEL, 2025)”
  • Inverse Omens by Fyre (AO3, 2019)
  • The Sky is a Sky in the Sky by Stuart Ross (Coach House, 2024)
  • The Unworn Necklace by Roberta Beary (Snapshot Press, 2007) I’ve read several times and it never seems like the same book. She utterly nails the form.
  • Haiku Canada Review: Vol 18, Number 2, Oct 2024, edited by Mike Montreuil (Haiku Canada, 2024)
  • A Further Introduction to Bingo by Jason Heroux and Dag T. Straumsvåg (above/ground, 2024) is offbeat whimsy and strange and surreal and delightful.
  • To Assemble an Absence by John Levy (above/ground, 2024)
  • Who’s Afraid of Virginian Woolf? by Edward Albee (Penguin, 1962)
  • The Serviceberry: Abundance and Reciprocity in the Natural World by Robin Wall Kimmerer (Simon & Schuster, 2024) reinforces the value of gift culture and adds nuggets about how the old model of forest as do-or-die-competition has been shifting towards a collaborative model where at root level there’s sharing resources.
  • From Desire Without Expectation by Jacob Wren (above/ground, 2024) as mentioned in a previous post, a pondering essay on writing, self, community.
  • Crying Dress: poems by Cassidy McFadzean (Anansi, 2024)
  • On Beauty: stories by rob mclennan (University of Alberta, 2024)

Those I’m reading concurrently.

  • Peer Gynt by Henrik Ibsen, trans by Christopher Fry and Johan Fillinger (Oxford, 1867, 1970)
  • The Edge of Europe: A Kinetic Image by Pentii Saarikoski, trans by Anselm Hollo (Action Books, 1982/2007) oddly enough references Peer Gynt as he also translated it. There must be some logic to what I read from disparate sources.
  • Birds of Happiness Aren’t Blue and 85 other very Funny and Somewhat Educational Nature Essays by Paul Hetzler (Paul Hetzler, 2023). The third of his compiled columns books I’ve read. Lots of details of particulars on everything from pill bugs to erosion to sleep patterns.
  • The Inferno of Dante: A New Verse Translation, trans by Robert Bly (Farrar, Strauss & Giroux, 1994) is one of these I’ve long owned and meant to read. Past halfway. Thanks goodness for footnotes. It is a bit of slog.
  • In Search of Dracula: a True History of Dracula and Vampire Legends by Raymond T. McNally and Radu Florescu (New York Graphic Society, 1972) is a hard haul to be certain. He was insane, paranoid, and cruel on a scale that makes Stalin and Palestine look moderate. He tortured and killed 30,000 people over an Easter Weekend, and those were the allies.
  • Death of the Author by Nnedi Okorafor (William Morrow/Harper Collins, 2025). The 9th book of hers I’ve read. It’s creative and a new structure for her, and based in contemporary world of non-magic, but kind of tiring. Smirk, cry, smirk, cry, but there’s personal growth and growth of relationships, I’m 82% so dammit I’ll finish it.
  • Divergent Paths: Family Histories of Irish Immigrants in Britain, 1820-1920 by John Herson (Manchester University Press, 2015) is fascinating and incredibly researched. His blog delved shallowly but this deep-dives to follow the long game of family and chosen family instead of individual immigrant overcoming and losing to adversity.
  • Everyday Life in the Viking Age by Jacqueline Simpson (Putnam’s Sons, 1967)
  • Provenance by Annie Leckie (Orbit, Hatchette, 2017)

Other books have submerged in the piles and may rise, and who knows what will come by mail or library or chance.

Organic Poetry

Why not organic poetry with artisanal salt? Where does creation and the superstructure of Arts? Canada Council says “Together we bring the arts to life” and in The Serviceberry: Abundance and Reciprocity in the Natural World, Robin Wall Kimmerer says we need to stop modelling from default scarcity and instead to default abundance and a gift culture of connection and gratitude.

In The Marketplace ™ how does the individual citizen fit? Not the consumer, not the artist, but the person inside the machinery?

There is attention on needs of formal structures; festivals, reading series programs, social media, granting bodies, professional writers organizations. This is all made as a mechanism to reach outside the immediate 2 or 5 people a life has room for.

These complex social tools are all designed to support the individual who wants to meet the individual through the medium of a page, digital or paper.

These support structures facilitate trade of A, your ideas, for B, goods/cash. And to reach the group of 200 or so that we can keep in our heads as “ours”. (And next, world domination.)

If we live among people who are in a self-sustaining sufficient closed community, we don’t need to access the superstructure.

It’s superfluous. You don’t have energy to cast about when there’s soil to be tended. Besides, I like what you do which I can’t do well, and you like what I do that you can’t do like I can. We are both satisfied. This makes all the rest unnecessary. 

If we want more? 

Our human population is absurdly large and writers and readers can be in insulated isolated pockets. What is exactly your wavelength of tickle might be hard to find. 

That’s okay, we have, oh, publishers, reviewers, marketers, networking, presentation forums. An attempt at centralized market so there isn’t so much duplication  of labour so we can spend less time looking, more time consuming or creating. 

If you sell carrots and I sell carrots, why should we each go door-to-door? It would be mutually beneficial to share knowledge and resources. 

A bunch of the carrot growers talk, agree to meet at noon in the square and people learn to come there to haggle for carrots. It’s cooperation more than competition. By being together, people know where the carrots are all at. Some carrot-chucker doesn’t allow a parsnip grower? Fine they go to another corner at 10am. Soon there are a lot of booths.

A person who doesn’t like growing carrots and isn’t good at it but like carrots just fine decides the community needs someone like themself. A middleman decides they can streamline and make the growers life more efficient at doing what they do best. The middleman will handle the markets, signs, word of mouth, even pick up the carrots and handle the money. Carrot growers just grow things. Everyone gets to specialize. It will be easier for growers and eaters. 

Now we have these structures but once they have life, they want to self-perpetuate. They need carrots for their truck fleet taking carrots to the network of freezers, and restaurants and dog food factories and export contracts. It all gets complex. It is a perpetual motion machine, a process of product and production. Some people show up every week expecting to buy whatever is for sale and are disgruntled at what gets delivered or become armchair critics but not producers. Others are just happy to enjoy what is grown.

There’s a lot of noise and someone starts a news sheet reporting on the people who sell carrots instead of the carrots. It’s fine. Things start getting a little peripheral as center as people start trading photos of people who give ribbons to their favourite carrots marketers and carrot bag designs. It’s fine. It’s still about eating, right?

Not many customers are going to drive around on the chance occurrence of seeing carrots or parsnips when they are being harvested. They’re too busy tending to their own life of widgets. 

True carrot aficionados are few but will track when and with whom to look, but most of the public want a bit of root for the stew now and then.  

Only carrot growers with huge egos want a monopoly of everyone buying their carrots. Who wants to industrial scale grow that many carrots? 

Is it about supplying demand or love of the next particular carrot and feeding the community that feeds you?

The core moment of nurturing a seed to nourish the self and other bodies can get lost. 

It is all predicated on one person and their seeds. One moment in a chain of moments and not buggering off to twitter to argue about sports tracks and trivets, and assume that carrots grow themselves. 

Social media can become white noise of hooks clanging. Each title and sentence can get relegated to the art of snagging. Reductionism and headlines and pull out quotes, headshots and packaging, ideal consumer and awards culture, that is all under the purview of market. 

Richness of soil, cultivation in private, nurturing what is worthwhile is the job of the farmers. 

Catching the market isn’t the work of the field or the seed. Being well formed or sexy or the right orange doesn’t matter to the hungry belly. Those are concerns of middlemen. Their busking may raise consciousness that you can eat something other than potatoes, but the real connection is teeth around what you grew. 

The work of the work is the essential bit. Without it, the rest has no purpose.

The social media, the reading tours, the articles, are all beside the root point. What is that truth? That obsession? That underground life that can bring its nutrients? 

The satisfying appetite or hunger happens one-to-one. 

How to find the one that wants your carrot in particular while you are growing more carrots? Maybe it is naïve but it is not your job. 

You learn the best practices, the principles, work from where you are and the carrot grows itself where you put it. Don’t let it die. Don’t let it grow woody, hollow, ginormous and bitter. Keep its seeds and replant the best of what grew. 

You hustle when it is the season, or else you partner with a middleman with hustle game, someone who can move among all the hungry people you’d rather not see as you stand in your patch of sun and rain.  You plan. You feed your soil. You rest when you can. You keep yourself and your plants healthy. 

And that’s that, except where it isn’t.

We need the whole society. We do not live in the confines of what we make. Or what we want. There is the stuff around and what doesn’t fit is sometimes the most interesting bits.

What kind of life do we/you want to make? Wha gives energy and what takes? Maybe you love the market to offset the solitude of growing your ideas.

In From Desire Without Expectation (which I’ve re-read a few times) (above/ground, 2024) Jacob Wren says “My intention here isn’t to celebrate my own partial ignorance. It’s rather to continue learning and include the reader in the process.” He talks of money vs. creation.

Over at Periodicities, Aaron Boothby considers the genesis of a poem, “what calls to us? I think that’s how a poem begins, and informs the whole rest of whatever it becomes.” And not only what a poem becomes, I’d add, but what we become, made by what we attend to and create.