Stephen Collis – författare

Somewhere at the core of almost every intellectual discipline is an attempt to explain change – why and how things change, and how we negotiate these transformations. These are among the most ancient of philosophical questions. In this collection of essays, award-winning poet Stephen Collis investigates how the Occupy movement grapples with these questions as it once again takes up the cause of social, economic and political change.

Dispatches from the Occupation opens with a meditation on the Occupy movement and its place in the history of recent social movements. Strategies, tactics and the experiments with participatory democracy and direct action are carefully parsed and explained. How a movement for social, economic and political change emerges, and how it might be sustained, are at the heart of this exploration.

Comprising the second section of the book is a series of “dispatches” from the day-to-day unfolding of the occupation in Vancouver’s city centre as the author witnessed it – and participated in it – first hand: short manifestos, theoretical musings and utopian proposals. The global Occupy movement has only just begun, and as such this book presents an important first report from the frontlines.

Finally, Dispatches from the Occupation closes with a reflection on the city of Rome, written in the shadows of the Pantheon (the oldest continually-in-use building in the world). In something of a long prose-poem, Collis traces the trope of Rome as the “eternal (unchanging?) city,” from its imperial past (as one of the “cradles of civilization”) to the rebirth of Roman republicanism during the French Revolution and the era of modern social movements – right up to the explosive riots of October 2011. Woven throughout is the story of the idea of change as it moves through intellectual history.

In To the Barricades we move back and forth between historical and contemporary scenes of revolt, from nineteenth-century Parisian street barricades to twenty-first-century occupations and street marches, shifting along the active seam between poetry and revolution. At once elegy (poems dedicated “to” past revolutionary figures and scenes) and a call for renewed struggle in the here and now, this collection of “social lyrics” and serial explosions seeks to drive apathy from the field and to recover forgotten “radical ideas” amidst our current “amnesiac condition.” Avant-garde technique is donated to lyric ends (the expression of social affects), as Arthur Rimbaud presides and the commune is reconvened in Vancouver’s streets. To the Barricades continues Collis’s “life” poem, “The Barricades Project,” which also includes Anarchive (2005) and The Commons (2008). Both the anti-archive of the revolutionary record and the dream of a once and future “commons” upon which all can equally dwell continue to shape these poems where words are hurried bricks thrown up as “barricades” in language. “Dear effects of / tireless treason / the social only / shuffles if you / move your feet / we’ve learned this / in a place invaders / called Vancouver / even if we are only / a few and even if / it rains on the day / of the demo”

Phyllis Webb is a poet around whom archetypes tend to cluster: the reclusive artist; the distraught, borderline suicidal Sapphic woman poet. While on the surface she seems someone supremely disinterested in the public sphere, argues Stephen Collis in this brilliant and revealing new celebration of her work, Webb is no domestic, as a creator or a critic. Her work sweeps into the wilds of politics, philosophy, economics and her slim books speak volumes. If there is a sense of abandoned projects hovering as ghosts on the margins of her books it is a purposeful abandonment, an anarchist’s abdication of positions of power and authority.Webb’s work points steadily towards the idea that the poem is not a commodity to be hoarded, but a response-ability to be shared, an aspect of the commons and our “common good.” The gradual dissolution of the lyric I traceable over the course of her writing career mirrors both the development of avant-garde poetics across the century and the anarchist inflected notion of the poem as a common property —an effect of language (the commons) and not the self (the private).In this sense Collis reads Webb’s poetry as it conjoins (and simultaneously diverges from) various twentieth-century literary movements and moments—it is this tension in her work which makes Webb a modernist whose writing nevertheless provides an opening into postmodernism. Her work constructs bridges across numerous conceptual divides: the (porous) boundaries between poetry and painting, poetry and politics, modernism and postmodernism, the lyric and the long poem, the ontologies of the self and the other.The changes across decades of Webb’s writing, Collis argues, mirror changes in the approaches of the twentieth-century avant-garde to questions of responsibility and abstraction, locating her work in the Image-Nation of radical, philosophically engaged poetries that have flourished throughout twentieth-century North America.

Almost Islands is a powerfully introspective memoir of the author’s friendship with legendary Canadian poet Phyllis Webb – now in her nineties and long enveloped in silence – and his regular trips to see her. It is an extended meditation on literary ambition and failure, poetry and politics, choice and chance, location, colonization, and climate change – the struggle that is writing, and the end of writing. I go to see her because she is poetry’s old crone and I am seeking. I go to her – usually three, four times a year – because it is a small ministration I can perform for her, and for her poetry, as she slowly reaches into the finite – a long, slow embrace of nothing … If living is a process of learning how to die, then is writing a process of learning how to stop writing? I go in search of lost words, in search of the hoped-for defence against the loss of words, drawn to the shaping sounds of fate and mortality.A meticulous collection of poetic, political, and philosophical digressions, Almost Islands weaves numerous themes together. At its crux lies a literary project: to build upon and extend Webb’s exposition of a “poetic” sense of the political, by proposing a political agent, the “Biotariat,” a government of Life, that is both human and more than human – arrived at after following as many pathways as possible through Webb’s own reading and thought. Ultimately, Almost Islands is a book obsessed with the problem of Webb’s not writing, and the implications of this for a writer like Collis who, in his own words, may be writing “too much” – as well as the wider social, political, and world-historical implications of withdrawal, self-silencing, and not-doing.

A History of the Theories of Rain explores the strange effect our current sense of impending doom has on our relation to time, approaching the unfolding climate catastrophe through its dissolution of the categories of “man-made” and “natural.” How do we go on with our daily lives while a disastrous future impinges upon every moment?

Stephen Collis provides no easy answers and offers no simple hope. Instead, he probes our current state of anxiety with care, humour, and an unflinching gazing into the darkness we have gathered around ourselves. Asking what form a resistance to the tenor of these out-of-joint times might take, A History of the Theories of Rain explores the links between climate’s “tipping points” and the borders constraining the plants, animals, and peoples forcibly displaced by a radically altered world ecology.

The first-ever collection of the major serial poems by Canada’s inaugural Parliamentory Poet Laureate, George Bowering, Taking Measures includes work from each of the last six decades, beginning with Bowering''s engagement with process-based long poems in the 1960s and 1970s and moving through his continued exploration of the form in recent decades. Containing well-known Bowering texts, including Allophanes, Autobiology, Delayed Mercy, Genève, and Kerrisdale Elegies, as well as Baseball, At War with the U.S., Irritable Reaching, Smoking Mirror, Do Sink, His Life, and Los Pájanos de Tenacatita, Taking Measures offers a new and revealing look at this acclaimed and prolific author’s poetic development and contribution to Canadian writing.

The serial poem is a hybrid genre, stitching short lyrics together into sequential, long (typically book-length) poems; Bowering’s innovative use of the form, always rooted in an engagement with place, with language, and with the intertwining of the two, shows him at his experimental and irreverent best, his trademark playful seriousness extended and expanded, producing poetry that remains compelling, complex, and exciting decades after its composition. Edited by the award-winning poet Stephen Collis, Taking Measures offers a career-spanning and revelatory sample of one of Canada’s best-known and most versatile writers.

Written amid wildfires and atmospheric rivers, The Middle extends Stephen Collis’s investigation of threatened climate futures into a poetics of displacement and wandering. The fulcrum of a trilogy begun with A History of the Theories of Rain, The Middle hikes the shifting treelines of our warming world to reflect on the way all life is on the move. Focusing on the human-plant relationship, each of The Middle’s linked sequences employs various forms of citational practice, rooted in the idea of a “poetic commons,” a kind of literary seed dispersal where words are blown, carried, and scattered from one textual field to another, akin to all the plants and animals in motion on our dangerously heating planet.