Sandra Ridley is the author of three books of poetry: Fallout (Hagios Press), Post-Apothecary (Pedlar Press), and most recently, The Counting House (BookThug). She has taught poetry at Carleton University and has mentored poets through Ottawa’s Salus and Artswell’s “Footprints to Recovery” program for people living with mental illness. Sandra has also facilitated poetry workshops for the City of Ottawa, Ottawa Public Library, and the Tree Reading series. She knows how to use a compass.
Q: Your work tends to favour the extended sequence, often utilizing extended lyric stretches, and avoiding individual, stand-alone poems. What is it about the sequence that appeals? Are all your poems in conversation with one another?
Over a career stretching more than four decades, Canadian poet Phil Hall has become known as the “poet’s poet,” more widely known and appreciated only during the past half-decade or so. Somehow, in the course of a conversation with poet and Wilfrid Laurier University Press Director, Brian Henderson, it followed that I would be editing a selection of thirty-eight of Hall’s poems for a “selected poems” as part of their Laurier Poetry Series. This press has produced two dozen titles of selected poems by Canadian poets, each guest-edited, and has established itself with an impressive series, predominantly aimed toward university and college courses, and the possibility of a new readership for established Canadian poets. Authors in the series include Fred Wah (ed. Louis Cabri), Nicole Brossard (ed. Louise H. Forsyth), derek beaulieu (ed. Kit Dobson), Christopher Dewdney (ed. Karl Jirgens), Dennis Cooley (ed. Nicole Markotić), Di Brandt (ed. Tanis MacDonald), Daphne Marlatt (ed. Susan Knutson) and Steve McCaffery (ed. Darren Wershler).