Fish Quill Poetry Boat was founded in 2010 by Canadian poets Linda Besner and Leigh Kotsilidis.
On several occasions the Fish Quill Poetry Boat came to the Elora Poetry Centre so that we were able to hear fine work from Canadian poets and superb music by singer-songwriters–all thanks to the country’s oldest communication system: the river.
The Good Hearted Women Singers
We are Indigenous and non-Indigenous women following the drum circle teachings of Community Elder Jean Becker, who began this group in 2003
We have been taught to follow the teachings of the Seven Grandfathers. These are the values of: wisdom, truth, humility, courage, honesty, respect, love.
These teachings guide us in our relationships with ourselves and each other and they help guide us towards living our lives in a balanced way.
Our drum group reflects a sweetgrass teaching. One blade of sweetgrass by itself is not very strong. It can break easily. When several blades of sweetgrass are braided together, the sweetgrass is strong and cannot easily be broken. The singing and drumming helps us to find the strength to keep going. A woman may feel reluctant and not have the confidence to lead a song, but she gives it a try because she knows that the others will be there to pick up the song if she falters. That song will be carried on, just as we all must carry on with our lives, no matter what. Just as the braided sweetgrass is strong, our “knowing” that we have the strength and support of one another helps us to carry on.
Christopher Dewdney was born in London, Ontario, in 1951. His father was the renowned archeologist, author and historian Selwyn Dewdney. ” Because of my father’s concerns, I grew up with a prodigious amount of national history, natural history, and there was as much art around the house as there was science”.
Dewdney’s reading was part of San Francisco poet, editor, and environmental activist Michael Rothenberg’s world-wide 100 Thousand Poets for Change. Over 400 events took place on that day.
Among the poems Chris read was The Elora Gorge Suite, from Radiant Inventory, which was nominated for a Governor General’s Award.
And Read to a Child, in conjunction with 100 Thousand Poets for Change (read by Peter and Nancy Scott) at 3:00 pm
100 THOUSAND POETS FOR CHANGE
4:30 pm
29 SEPTEMBER 2024
Elora Poetry Centre and Gallery
7324 Wellington County Road 21
Walter Benjamin
E.E. Cummings
Heinle Sonnets by Walter Benjamin
E.E. Cummings Poems presented by Peter Skoggard
Carl A. Skoggard reading from his translations of Walter Benjamin
Eric Neaves, tenor
Alan Macdonald, baritone
Irene Gregorio, piano
Play Gordon Lightfoot
The Elora Poetry Centre, 7324 Wellington County Rd. 21
7 July 2024: 6:30-8:30 p.m.
Daniel Bratton’s birthday present to himself (donations to the players welcome)
Usual finger food and drinks
All welcome!
Sorry for the delay in posting this blog, but the Elora Poetry Centre & Gallery promised to create a space for people to ask Khashayar (Kess) Mohammadi questions about their performance for the 100 Thousand Poets for Change event on Sept. 30. Those in attendance may recall that it was a busy day, Kess’s reading being followed by Dr. Gerard Yun playing the shakuhachi and then Choir in Motion performing in the garden, so we did not have the opportunity for a Q & A.
Anyhow, we thought we’d belatedly start things off with a query by a member of the audience that Carol received the next day, hoping that others will feel free to join the discussion:
In “Moes’ Skin.2.” [from Me, You, then Snow], “My head cradled sunlight to its resting place. / Did you ever have a face?” . . . What? I don’t get it. ”
However, the next day, this friend of the Elora Poetry Centre added the following: “Within the context of that particular poem, it makes ‘sense’ since it follows the changing countenance of his friend.” Does anybody have anything to add? Was this your reading, too?
Those of you who have a copy of Me, You, then Snow might want to have a look at this poem on p. 4 for the larger poetic context. Also, since the original question was later followed by a declarative sentence, perhaps it’s not the best way to open the Q & A, but we’re hoping that, in spite of the time that has passed, there might be some general questions about Kess’s poetics, themes, etc. His poetry has wonderful depths that we’d love to explore. Then again, those of you with access to the above collection and/or The Ocean Dweller, Saeed Tavanaee Marvi’s poems translated from the Farsi by Kess, might have some specific questions about individual poems.
Please leave your questions here and we’ll direct them to Kess for a response. We will then get back to you on this forum.
bill bissett and MLA Chernoff will be performing live from 2:30-4:00 p.m. on Wednesday, Nov. 16, in the Chapel of St. Bede, Renison University College, University of Waterloo. This event is co-sponsored by the University of Waterloo and the Elora Poetry Centre & Gallery, with support from the Arts First Pedagogical Enhancement Fund at University of Waterloo, the League of Canadian Poets, and Canada Council for the Arts. It is linked to the annual 100 Thousand Poets for Change global poetry initiative organized by Michael Rothenberg, held in over 700 international locations.
Described by Jack Kerouac as “one of the great poets,” bill bissett is an internationally acclaimed language poet, artist, and musician. He is the author of more than 60 books of poetry. Safia Southey observes, “bissett dispenses with standard written English (initial capitals, spelling, and punctuation), connecting with language on an elemental level that some reviewers have considered shaman-like.” Frank Davey has described him as “rejecting the conventional or ‘straight’ world . . . not only in lifestyle but in ruthless alterations to conventional syntax.” bill is a spellbinding performance artist who has delighted audiences at the Elora Poetry Centre on two previous occasions coordinated with 100 Thousand Poets for Change.
Gordon Hill Press, publisher of MLA Chernoff’s recent collection [Squelch Procedures], notes that “MLA Chernoff (they/ them/@citation_bb) was born at Women’s College Hospital in December of 1991–oops. They are a six-hundred-year-old Jewish, non-binary pome machine, a Postmodern Neo-Marxist, and (somehow) a PhD Candidate of the Neoliberal University of York University, where they once held a SSHRC Doctoral Fellowship–no kidding.” MLA delivered a stunning virtual performance for students at Renison University College and friends of the Elora Poetry Centre a year ago.
Although it is being staged for ARTS 130 at University of Waterloo, the event is open to the Renison and University of Waterloo communities, friends of the Elora Poetry Centre, and general public. The Chapel of St. Bede is part of the Renison University College campus and can be accessed from Renison’s main parking lot. Please contact the Elora Poetry Centre & Gallery in advance for details on parking.
Renison University College and the Elora Poetry Centre co-sponsored, with funding from the League of Canadian Poets and Canada Council, a virtual poetry performance by MLA Chernoff
1.00—2.20 p.m. Monday 31 January 2022
MLA CHERNOFF (they/them/@citation_bb) was born at Women’s College Hospital in December of 1991––oops. They are a six-hundred-year-old Jewish, non-binary pome machine, a Postmodern Neo-Marxist, and (somehow) a PhD Candidate at the Neoliberal University of York University, where they once held a SSHRC Doctoral Fellowship––no kidding.Their first chapbook, delet this, was released by Bad Books in 2018. Their second collection, TERSE THIRSTY, was released by Gap Riot Press in 2019. Their debut full-length collection of poetry, [SQUELCH PROCEDURES], is now available from Gordon Hill Press.
In [SQUELCH PROCEDURES], MLA Chernoff contemplates the ways that trauma, poverty, and strict gender norms rupture the concept of childhood. The tension of multiple meanings in the word “squelch” acts as a guide to Chernoff’s unique voice, which uses language to swaddle intrusive thoughts and mimic defense mechanisms such as avoidance, depersonalization, and derealization. [SQUELCH PROCEDURES] is an ambitious attempt to show how healing and regression are often indistinguishable, while the past is always predisposed to happen more than once: first as tragedy, then as farce.
Funded by The League of Canadian Poets and The Canada Council for the Arts
Co-sponsored by the Elora Poetry Centre & Gallery and Renison University College, University of Waterloo
Photo credit: Open Book Festival croc E moses – Open Book Festival
croc E read and recited a selection of material inspired by the interplay of the natural elements in Southern Africa and Grey County where he is presently based.
Here is the YouTube link to this event:
The Elora Poetry Centre & Gallery 