Ern Moure - Böcker

Erin Moure traces a woman's poetic trajectory through the instability of any search and any procedure. Everything touched upon is called into question as Moure explores the limits of our notions of language, and plays with the power of words to convey meaning or intelligibility, as well as their fallibility.

A candid and passionate consideration of citizenship viewed through the feminine, O Cidadan examines borders in language and in the body, to explore ways in which we might rethink nation and community in our era. Erin Moure's poems pulse: they shift and overlap, echo, capture sensual and political hinges in our social topography. Drawing on puns, shadows, images, charts and crosswords, Moure's poetic forms belie any settled, safe habitation of the page -- extending the textual possibilities of language and expression, as Moure grapples with how we might exist as citizens.Gritty, argumentative, funny, and moody, O Cidadan is Erin Moure's final volume in a decade-long trilogy of work exploring language, feeling, responsibility and identity within the liminal territories we occupy. The first, critically acclaimed volumes were Search Procedures, nominated for the 1996 Governor General's Award for poetry, and A Frame of the Book (also called The Frame of a Book), nominated for the 1999 QSPELL A. M. Klein Poetry Prize and the 1999 Pat Lowther Memorial Award.

Erin Moure is one of the most consistently innovative, radically imaginative poets at work in Canada. With each book, Moure seeks to re-create writing from the ground up.Little Theatres appears at a pressing historical crossroads, when we most need our language to be made restive again. Like the agua/water running through the collection -- at once lingual exchange, submersion, balm, and sustenance -- Moure's voices are as fluid, clear, animated, and shimmering with light and life as ever.Galician and English intermingle in this collection like currents of the same river. How can we open the infinitely small spaces of Little Theatres in our own lives? Can they take the place of war? And who, exactly, writes them? Erin Moure? The unjustly ignored thinker Elisa Sampedrin? Or a speaker inside us finally willing to give Little Theatres its due attention? An intimate act of cultural and personal interflow, this work from a major poet has the power to alter our perception of where, and on what scale, the action is taking place.

O Cadoiro is an astonishing exploration of lyricism by one of our greatest poets, best known in recent years for her challenging experimental work. But where experimental poets often disdain lyric, Moure embraces it, revelling in its beauty and its radical modernity. Rooted in medieval Galician-Portuguese cantigas, her poems in O Cadoiro are a breathtaking passage through archive, rhythm, address, and the mystery and wound of authorship itself.From the author's postface: O cadoiro is, literally, the place where falling is made. In Galician, cadoiro is one word for waterfall. Cataract, perhaps. Thus, the fall. This to me is the place of poetry, for whoever writes poetry must be prepared, ever, to fall.The postface to O Cadoiro is freely downloadable via a link on Erín Moure’s website at https://erinmoure.mystrikingly.com. It is not printed in the book.

Here is inventive new poetry from one of our most original and admired poets: Erin Moure, two-time winner of the Governor General's Literary Award for Poetry, winner of the Pat Lowther Memorial Award, and a finalist for the prestigious Griffin Poetry Prize.Moure's brilliant collection explores the idea that the act of reading contains all the experiences of the body itself: love, splendour, travel, doubling, loss. The "resplandor" of the title refers to the radiance of the body when the language of the book flows into ears and eyes. In unexpected ways -- through impossible translation, anachronistic journeys, and a fictional mystery that involves a search for a translator who exists only in the future beyond the book itself - O Resplandor confounds notions of authorship and translation, all while conveying the clamour over love and loss. Richly challenging and charged with Erin Moure's distinctive energy, O Resplandor is a work about the powerful light contained in the human body, in translation, and in poetry - even as it shows how these are all one and the same in the end: inventions.

The new collection from Governor General’s Literary Award–winning poet and translator Erín Moure is a book about tenderness, and about The Good, in the face of destruction. The Elements is a family book, a thinker’s biography in poetry, and a polylingual homage. Poems about and for Moure’s late father — accepting his dementia as a real way of thinking “world” and “self” in a struggle against invasive powers — are braced alongside poems invoking the struggle of Galician peasants against the invasion of the armies of Napoleon. It is a book about tenderness, and about The Good, in the face of destructions. By celebrating our ability to think and to revolt, it defends the human pull toward happiness and sovereignty, toward life, toward living. “The infinitely transmissible,” it says, “demands this polyvalent body.”

Reissued for the first time in a handsome A List edition, the Governor General’s Literary Award–winning collection from one of Canada’s most profoundly inventive and eminent poets, featuring an introduction by award-winning poet Sonnet L’Abbé.The poetry in the Governor General’s Award–winning collection Furious is charged with Erin Moure’s characteristic energy and wit as she explores the limits of pure reason and the language of power. There is, too, a fresh and often celebratory look at love, and, in an unusual finale, “The Acts,” Moure challenges us to explore a feminist aesthetic: of thinking, of the page, of working life and the possibility of poetry.

What is breath for? What is archive? Why write a poem, instead of... something else?Theophylline is a work of poetry motivated by asthma, seeking poetry’s futurity in a queer and female heritage. Moure crosses a border to engage the poetry of three American modernists—Muriel Rukeyser, Elizabeth Bishop, and Angelina Weld Grimké—as a translator might enter work to translate it. But what if that work is already in English?I looked for women who had made and were formed bymigrations, and who were in some way marked ‘qustionably’by the socius, and I examined what I could of the forms and shapes of their migrations—

Shortlisted for the Kobzar Literary Award.The Unmemntioable joins letters that should not be joined. There is, in this word, an act of force. Of devastation. The unmentionable is love, of course. But in Moure's poems, love is bound to a duty: to comprehend what it was that the immigrants would not speak of. Now they are dead; their children and grandchildren know but an anecdotal pastiche of Ukrainian history. On Saskatoon Mountain in Alberta where they settled, only the chatter of the leaves remains of their presence. What was not spoken is sealed over, unmemntioable. There is no one left to contact in the Old Country. Can the unmemntioable retain its silence, yet be eased into words? Can experience still be spoken?

In Kapusta, Moure performs silence on the page and aloud, writing "gesture" and "voice" to explore the relation between responsibility and place, body, and memory, sorrow and sonority. Here, poetry flourishes as a book "beyond the book," in a space of performance that starts and stops time.In Little Theatres, Ern Moure's avatar Elisa Sampedrn first spoke about theatre and the need for smallness in order to articulate what is huge. Sampedrn, who reappears in the translation mystery O Resplandor as the translator of a language she does not speak, vanishes later in The Unmemntioable when the split in human identity that results from war and displacement is acknowledged. Now, in Kapusta, the character E. is alone, in the smallest of spaces - the bench behind her grandmother's woodstove in Alberta. Here, E. struggles to face the largest of historical and imagined spaces - the Holocaust in Western Ukraine, and to understand her mother's silence at the sadness of her forebears, her "salt-shaker love."