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

Symptoms and sources

A review of Lauren Levin's 'Justice Piece // Transmission'

Isabel Balée

Lauren Levin’s second book, Justice Piece // Transmission, is comprised of two essayistic poems that continually untangle and reconstruct the web of contradictions that shape the speaker’s ever-complex, and always self-questioning, inner narrative. In both pieces, Levin traces anxiety back and forth from its source: the social, material fabric that challenges any “total” understanding of what it means to be a person — a queer person — and a queer gender-fluid person — in the world right now.

Osiris Ánibal Gómez: The ghost poet

Writing and translating indigenous poetry in twenty-first century Mexico

Jerome Rothenberg

Osiris Anibal Gómez, right, with Mazatec poet Juan Gregorio Regino, director of Mexico’s National Institute of Indigenous Languages (INALI).

For the past ten years there’s been an ongoing discussion among writers and critics concerning the conditions and the transcendence of translation in contemporary Indigenous literary production. On the one hand, there are those who express that the birth of bilingual literature in Mexico has been shaped by federal writing grants offered mainly to writers who agree to self-translate their work to the Spanish language for publishing. On the other hand, there are writers who take on the double artistic responsibility as a necessity for greater dissemination.

At the opening

Eric Schmaltz

The mouth opens. It burps and yowls, gasps and laughs, mumbles and yawns. The mouth sings —loudly or quietly and can do it with a shimmer. The mouth whispers. The mouth SCREAMS. The mouth speaks, stutters, and stops.