Richard Outram

Something of a ?foreigner? in his own country, Richard Outram was uncommonly dedicated to living an "examined life" and to the act of creation for its own reward. This book represents a posthumous, introductory panorama of this late Canadian poet's work, written by those who continue to admire his achievement. Much of it is new material, offering fresh consideration and a charting of the path of Outram's lifelong engagement with poetry.

Richard Outram, long celebrated as a poet’s poet, has increasingly found an audience among poets and layreaders alike. As much at home with the physical as with the metaphysical, he is by turns bawdy and decorous, sensual and ascetic. He is a virtuoso ventriloquist, speaking now as a reluctant sailor, now as a heartbroken prophetess, now as ‘a bloody great Indian elephant’; he even speaks, occasionally – a rarer feat, this, than is commonly acknowledged – as himself. The Essential Richard Outram is an affordable, pocket-sized selection that will introduce readers to a variety of Outram’s registers and personae. When Outram died in 2005, he left behind him more than twenty books of poetry, many of these privately published with his wife, the painter and wood engraver Barbara Howard. The poems in these privately-published books, alongside the deeply personal lyrics that Outram chose not to publish in his lifetime, comprise a little-read oeuvre of great importance. Collecting a selection of these rarities alongside highlights from Outram’s trade-publications, The Essential Outram provides a fuller sense of the arc of this poet’s career than has yet been made accessible in book form. Since its inaugural year of 2007, the Porcupine’s Quill’s acclaimed Essential Poets series has celebrated Canadian poets and presented their work in an accessibly succinct and beautiful package -- sixty-four pages to introduce, reacquaint, provoke and enchant. The Essential Richard Outram is the seventh volume of the series.

Richard Outram has long been accused (there are those who will protest, wrongly accused) of being a `difficult' poet. An ascetic traditionalist perhaps, as opposed to a populist the likes of cigar-smoking Al Purdy or whiskey-ravaged Milton Acorn. Some, notably the formidable critic Peter Sanger, prefer the term `challenging' in describing Outram's poetry. Alberto Manguel has written that Richard Outram is `one of the finest poets in the English language'. But then there are those fervent, vocal dissidents who will insist that not only is the thicker of Outram's poetry `impenetrable', but also that Sanger's criticism is equally incomprehensible, if not more so. South of North presents a very different side of the polarizing Richard Outram. Consider ... `Outram's ``perfect burden'' is the necessity of human ignorance and confusion, the burden of the ``sad man'' in ``Autumn'' which, like the riddle-work of material lattice both intercepting and allowing the passage of light in The Promise of Light, is the only possible preliminary to an accurate and profound experience of love.' -- Peter Sanger, `Her kindled shadow, ' An Introduction to the Work of Richard Outram In South of North, by way of stark contrast, Outram's azure mariner compares the `waves of Whiffinspit' with the `waves of Pond Inlet' and finds the waters to be remarkably similar. As might be expected; nothing more complicated than that. South of North depicts a landscape that is distinctly rural -- a weathervane, dogwood in a marsh, and raucous crows; the whitened skeleton of a vole in a fallow field. Tantramar Marsh, the Saugeen River and the horses of Bonavista. A summer storm building over Cobourg; the hefty bulk of a snapping turtle surfacing, trailing a rank ooze.

“It makes no sense. You would be strangers / if not for this.” In Strangers, Rob Taylor makes new the epiphany poem: the short lyric ending with a moment of recognition or arrival. In his hands, the form becomes not simply a revelation in words but, in Wallace Stevens' phrase, “a revelation in words by means of the words.” The epiphany here is not only the poet’s. It’s ours. A book about the songlines of memory and language and the ways in which they connect us to other human beings, to read Strangers is to become part of the lineages (literary, artistic, familial) that it braids together—to become, as Richard Outram puts it, an “unspoken / Stranger no longer.”

Includes entries for maps and atlases.

Already an award-winning poet, Carmine Starnino has also made his mark as a literary critic of great pluck, probity and irreverence. His highly regarded, often highly controversial writings on poetry have enlivened -- and often enraged -- the Canadian literary scene since they first began appearing in the late 1990s. He has tackled the careers of some of this country's most notable poets (among them Irving Layton, Michael Ondaatje, Anne Carson, Tim Lilburn, Susan Musgrave, Christopher Dewdney) and done so in prose of great subtlety and style. Indeed, in Starnino's literary criticism seditiousness and insight are made to live inside sentences that always square their shoulders and draw themselves to their full verbal height. A Lover's Quarrel culls some of the highlights of Starnino's dissenting exploits, and includes the never-before-published title essay, an ambitious reassessment of Canadian poetry. For readers unfamiliar with Starnino's criticism, the release of A Lover's Quarrel furnishes the perfect opportunity to read one of the few critics in Canada who can speak his mind and speak it well.