THE ANANSI POETS
“We like the idea that a cliché turned slightly / is an archetype,” writes Griffin Poetry Prize–winner A.F. Moritz in his book-length poem Sequence, which is charged by the poet’s typically sharp observational eye and caustic tongue. Containing nods to the Bible and Beaudelaire, Octavio Paz and Jack Kerouac, Moritz revitalizes the traditional sequential poem, “often seen as the characteristic long poem of our times.”
“The perspective is unfamiliar.” The opening line in the title poem from Karen Solie’s collection The Road In Is Not the Same Road Out could stand as a declaration of intent: the poet shifts perspective to gain new insight into the things that drive us and make us human. This is Solie’s fourth collection, and her first since her Griffin Poetry Prize–winning Pigeon.
Erín Moure invokes Jacques Rancière in the epigraph to her new volume of poetry. Structured as a three-act play, complete with grey-scale text, passages in French and Ukrainian, and negative space to suggest silence amid speech, Kapusta continues Moure’s exploration of the boundaries of language, form, and technique.
A dual citizen of Canada and the U.S., Elise Partridge has charted a more traditional path than some of her contemporaries, cleaving to notions (rhyme, metre) that some consider outmoded. Yet the poems in The Exiles’ Gallery, like those in the two preceding collections, testify to a wide-ranging imagination and an impulse to push at the boundaries of formalism to test their resilience.