CUE Books

A short interview with Christine Leclerc

rob mclennan

Christine Leclerc is a Vancouver-based author and activist. She is the author of Counterfeit (2008) and Oilywood (2013, winner of the 2014 bpNichol Chapbook Award) and an editor of portfolio milieu (2004) and The Enpipe Line: 70,000+ km of poetry written in resistance to the Northern Gateway pipeline proposal (2010). Leclerc is a University of British Columbia Creative Writing Program graduate whose poetry, fiction and essays have appeared internationally. She is a communications manager by day and has been known to lead community theatre at corporate headquarters and occupy oil rigs at sea.

Annharte's 'AKA Inendagosekwe'

rob mclennan

Aka Inendagosekew, published by CUE, 2014

In her recent collection of essays, edited by Vancouver poet and critic Reg Johanson and collected together as AKA Inendagosekwe (CUE, 2013), Winnipeg poet Annharte’s “Advice to Young Writers” reads:

Chris Turnbull’s endless directions

rob mclennan

from "[ untitled ]," reprinted with permission from the author

I recently received a copy of o w n (CUE, 2014), a book of three new works constructed through a variety of text and visuals connected through the suggestion of shared affinities: a sense of collage, disjuncture and ecopoetic.

Recently in Jacket2

Marie Buck and Caleb Beckwith in conversation

Caleb Beckwith

Marie Buck

Note: In her recent post for the Poetry Foundation’s Harriet site, “Pleasure & Political Despondence,” Marie Buck explores the tension between leftist utopian ideals and the apparent hopelessness of post-Occupy American politics.

June 25, 2018

Toward a poetry and poetics of the Americas (11): from the Popol Vuh (Mayan)

Jerome Rothenberg

The Popol Vuh, literally “the book of the community” (or “commonhouse” or “council”), was preserved by Indians in Santo Tomás Chichicastenango, Guatemala, and in the eighteenth century given to Father Francisco Ximénez who transcribed it in roman letters and put it into Spanish; vanished again and rediscovered in the 1850s by Carl Scherzer and Abbé Charles Etienne Brasseur de Bourbourg.

Translation from the Mayan by Dennis Tedlock

this is the beginning of the ancient word,

here in this place called k’iche’

Here we shall inscribe,

we shall implant the Ancient Word,

Elsewhere is here

A review of 'The Camel's Pedestal' by Anne Tardos

John Olson

Photo of Anne Tardos (right) at the Kelly Writers House, March 15, 2016, taken by Writers House staff.

It’s exhilarating to say things. Giddy and strange to put things in the air nobody has heard. Exultant and juicy to make proposals at the interphase between language and reality. I feel these things keenly reading Anne Tardos. “It must be crisp not cryptic, if you want to write,” reads the first line of “Gentle Deer On 10th Avenue,” “There is this come-and-go of ideas, impressions, fears, uncertainties.”[1]