Miranda Pearson moved to Canada from England in 1991 and has made many important contributions to the literary scene in Vancouver, BC through her work as an editor, teacher, and poet. Pearson’s poetry has been published widely in literary journals and anthologies, including The Bright Well: Contemporary Canadian Poems about Facing Cancer and Forcefield: 77 Women Poets of British Columbia. The Aviary, Pearson’s second book of poetry and the winner of the Alfred G. Bailey Award in 2006, is an intriguing collection in its progression from shorter poems with more recognizable lines of verse to longer poems that dance to the very edges of the page with increasing finesse and innovation. Amid all the Dickensian by David Lean greyness in quizzical stills from Westerham to the West Coast of Canada, the might and charm of Pearson’s lyric personality is certainly a silver lining woven through each silence upon the page. As Robert Kroetsch indicates: “I delight in these poems. Their verbal strategies, their echoes and replies, their life-givingness.”
Playing with translation is learning about one’s own language, one’s own history, how it came to be that certain words emerge from the mouth. I was working this morning on a wee project from last August, started after a research group meeting (working together on the question What is production?) where we considered Hannah Arendt and, inevitably, Heidegger.