I began this commentary by writing about poetry and quantum supercomputers as well as the failing of Western science from before Democritus to now in spreading the belief in elementary particles, from the atom as the central concept of materialism in Greek philosophy to the open and closed strings in contemporary string theory. (More on this later.)
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.
When I was thinking about a motif or query that could help focus my Commentaries here at Jacket2, I kept returning to a central question about time. The way that we experience and imagine time is directly shaped by the quality of our attention and the terms of our engagement. There are many areas of interest through which I could engage this experience of time (film, for example), but while commentating here, I shall limit myself to the way that language operates in poetic contexts.
I decided to title my series TIME TEXT BODY NOISE because these elements are all centrally linked in how I am coming to understand the production of time as a poetic experience.