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.”
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.
The Manifestos and Essays from Theater Communications Group, from Theater Communications Group -- includes all Foreman's early essays, starting in 1972 (from Performance, October, TDR, PAJ) plus two new interviews and "film notes."
Plays with Films, ed. Rainer J. Hanshe, intro. George Hunka .Texts of the final three productions of Richard Foreman’s Ontological-Hysteric Theater at St. Mark’s Church-in-the-Bowery: Zomboid! (2006), Wake Up Mr. Sleepy! Your Unconscious Mind is Dead! (2007), and Deep Trance Behavior in Potatoland (2008).
John Richetti recently returned to PennSound’s studios and recorded a selection of poems by Keats, Shelley, Blake, Wordsworth, Byron, and Coleridge. Here is a link to the new page in the “PennSound classics” section of the archive.