Sina Queyras

if you open your mouth, ache.


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April Readings

I’m on the move in April. Hope to see you at one of these events.

BROOKLYN
April 14th, 7pm
Brooklyn Public Library
with Tonya Foster & Erica Hunt
10 Grand Army Plz,Brooklyn
Belladonna* Collaborative

YALE
April 16th 8pm
The Graduate Poetry Reading Series: Yale
Linsly-Chittenden Hall (LC), LC 319
63 High St.
New Haven, CT 06511


NEW YORK
Friday April 17th 

7:30-9:30 pm
Jack 505 1/2 Waverly Ave Brooklyn, 11238
Join UDP and Coach House Books for a reading with Ken Babstock, Corina Copp, Ben Fama, and Sina Queyras at JACK in Clinton Hill, Brooklyn. Following the reading, there will be a conversation with the poets, moderated by Mónica de la Torre and Robert Fitterman.

TORONTO 
Sunday, April 19th
7pm
Type Books, Toronto
Poetry night with Coach House Books & Ugly Duckling Presse
Two independent presses join forces and talk poetry – join UDP and CHB for a reading and conversation with Ken Babstock, Corina Copp, Ben Fama, and Sina Queyras at Type Books (Queen W.) in Toronto. Kyle Buckley will host.

BERKELEY
Friday, April 24th, 3-5
Berkeley Poetry Colloquium
330 Wheeler Hall
University of California, Berkeley

OAKLAND
Saturday, April 25th  8:00pm
Sina Queyras, Evelyn Reilly & Maisha Quint
in the Oakland Omni Collective Building
4799 Shattuck Avenue


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Reviews, Reviews, Reviews

I am rich in reviews and so thankful for the close reading! The Bullcalf, Arc Magazine and The Kenyon Review. Ben Purkert makes a case for the elegy as selfie. Not what I intended, but he makes a compelling case.

Not all elegies, however, are necessarily selfless. Some are self-addressed. Sina Queyras’s M x T (Coach House Books, 2014) levels with the reader: “There will be no one to write an elegy for me and so I am writing my own now, I want you to keep up with me. I want you to feel the way the wind holds a bird.” Written in response to a series of deaths in the poet’s immediate family, M x T is a work of deep despair. Overwhelmed with mourning (“Water, water everywhere, my dead ones…”), Queyras confronts her sorrow with intense interiority: “I am not interested in what Bourdieu, or Kristeva, has to say about grief…. I don’t want a theory; I want the poem inside me. I want the poem to unfurl like a thousand monks chanting inside me. I want the poem to skewer me, to catapult me into the clouds.” With titles like “Sylvia Plath’s Elegy for Sylvia Plath,” M x T turns the mechanism of elegy on itself.

Read the entire review here. Also read Jessi MacEachern and Stephen Brockwell who ask some compelling questions. Thanks to everyone. An honor.


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Elska mína

Sina:

mom and dad thompson

 

Originally posted on NewPoetry:

Sina Queyras

You created me, you should remember me; leaned your face into the canto of
…..my birth and broke air with me, breathed your best, your unrest
Into me even as you bled, and my father—a taut shock of muscle—caught me
…..as an Eagle takes a trout.
It was a rave, mother, a real wave and blue, a sprig of fur the three of us in our
…..first Pas de trois. You chewed the cord as he yanked,
Before that I was locked in the dashboard with Patsy Cline while you two
…..hurled and ducked. You bore me,
You should recall the blood you gave me, breathed your discontent, your
…..troubling, joyous, mysterious, unquenchable thirst for
Life in me: you shock of blonde, rare as Marilyn, a knubbly shudder of hose and
…..Almond Nougat
An edible parchment, a scroll so naïve, with such…

View original 378 more words


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Fall Dates: Montreal, Vancouver & Toronto

Montreal: Atwater Library

Friday, October 17:
Sina Queyras and Ken Babstock

Vancouver Writers Festival

Friday, October 24,
Waterfront Theatre, 10:00AM,
Pure Poetry
Kris Demeanor, Eve Joseph, Anne Kennedy, Christopher Levenson, Sina Queyras, Katherena Vermette

Saturday, October 25
Performance Works, 8:00PM
Poetry Bash:
Ken Babstock,George Elliott Clarke, Billeh Nickerson, Sina Queyras, Katherena Vermette, Patricia Young

Sunday, October 26
Waterfront Theatre, 1:30PM
 Michael Crummey, Aislinn Hunter, Billeh Nickerson, Sina Queyras

IFOA, Toronto 

Wednesday, October 29, 2014, 7:30 PM
Reading: Esther Freud, Steven Galloway, Sina Queyras, Marcel Theroux

—————-

Thursday, October 30, 2014, 7:30 PM
Round Table: Emily Gould, Emily Lindin, Anna Todd & Sina Queyras, hosted by Mark Medley.*

*Note the title of this panel has changed since last week! Same time, completely different panel.


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Twitter Reviews of MxT


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MRB on MxT

Thanks to Bert Almon for the love.

The great strength of the book is not in the apparatus – circuit diagrams, tutelary figures – but in the texture. Queyras employs many forms: prose poems, poems in stanzas, representations of postcards, aphorisms (“All mature poets understand the need for dry wood chips”), found poems, concrete poetry. The tour de force is “Elegy Written in a City Cemetery”: each of its 53 lines paraphrases another poet’s elegy and has a footnote. The sources are extraordinarily wide-ranging, from Tibullus to Coleridge to some of the author’s contemporaries, and she clearly knows the elegiac tradition. Queyras alludes to Anne Carson, whose Nox is also an elegy for a sibling, and one of the most ambitious works of our time. “Anne Carson is a footnote in the biography of death. Few of us get a mention,” she writes. Queyras does deserve her own footnote in the tradition of elegy for this ambitious and moving book.

Read the entire review here.


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Rain Taxi on MxT

While Queyras acknowledges the limitations of elegiac poetry, she also recognizes its power as a means of communing with the dead. For all its scientific apparatus, M x T is a book of deep feeling.

Coming in the summer issue. Thanks so much.


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Malahat Review on MxT

Thanks to Paul Franz for this astute review:

The title M×T derives from what Queyras calls “Ohm’s Law of Grieving” (“Feeling = Memory × Time”), one of nine fanciful formulas and mechanical models for representing grief. Crucially, Queyras presents her ambivalence—between the self-contained electric circuit and oceanic openness—as a real one. Her notion of a device that would “prevent an excess of excessive feeling from damaging, i.e., exploding or blasting or otherwise bursting the surface of the physical vessel in which the circuits are housed” is obviously satirical; yet the wish is not simply dismissed. Instead, acknowledging this need deepens the major prose sections’ poignant vulnerability, their yearning for release and control: “Dear One, I am struggling to be in my body, struggling to stay where I am; I want to be closer to my memory of you. I am adrift without it.”

It is a vital work by an increasingly essential Canadian writer.

Read the full review here.

 

 


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Globe & Mail on MxT

Globe & Mail, April 25th,

The lush vehemence of Sina Queyras’s new poetry collection M x T is as in-your-face as its crazy-pink cover. These poems issue the high-voltage lyric force of mourning songs while bracing themselves against our shuddering in response. Each text is an analogue of how grief convulses through us but – and this is its strength – without any formula to fix grief. There ain’t no cure for loss.

and

Queyras unspools a collection of gorgeous and cantankerous poems that ask testy questions of all contemporary poets, and for this, the book is a must-read.

Read the full review here.


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Talking with Mark Medley

 May 6, 2014 7:00 AM ET

Peter J. Thompson/National Post
It should come as no surprise that Queyras is critical of her own work, considering that, despite her insistence that she’s “not really a critic,” she has evolved into one of the country’s loudest critical voices, with a platform to match. Although describes herself as an “extremely lone wolf,” Queyras remains one of one the most visible figures in Canadian poetry and “an indispensable presence in North American poetry,” according to an email from Don Share, editor of the influential journal, Poetry.

Read the entire profile here.


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Shannon Webb-Campbell on MxT

MxT by Sina Queyras
By Shannon Webb-Campbell
Telegraph-Journal
April 25 2014

Nothing is large enough to hold grief. Even language fails to contain it. Sina Queyras proposes a formula for grieving in her latest collection MxT, or Memory x Time, what could be this year’s most devastating and enlightening Canadian poetry collection. Known as Lemon Hound in her online avatar, Queyras is a poet of tremendous weight. Her might is found in every line. In the opening poem, “Water, Water, Everywhere,” she writes, “I don’t want a theory; I want the poem inside me. I want the poem to unfurl like a thousand monks chanting inside me.”

Grief hollows. Loss guts. Queyras’ fragments momentarily alleviate the burden, and offer poetic embodiment. While grief shatters our internal mosaic, Queyras attempts to restore pieces. Gives nourishment. These poems not only mourn the dead, they engage with the unnameable, unknowable ocean of loss. This is memory, divided, categorized and turned over. This is a form becoming a formula. This is poetry at its purest. This is a place to hold, and be held.

Queyras navigates the land mines of memory, death and loss, and shifts perspective with diagrams. Throughout, she invokes conversation with other poets and theorists, eliciting both the engineers of language and science. In several elegies – “Sylvia Plath’s Elegy for Sylvia Plath, Elegy for my Father’s Labour, Elegy for a Lost Brother” etc. – Queyras invites readers to reflect on how the lineage of loss has its own memory, time and feeling. Queyras swims in the pools of theory, only to abandon intellectualism and declare that grief’s unquenchable thirst is emotionality.


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Review at The Rumpus

Very pleased and honoured by this review from Julie Enzer over at The Rumpus, contextualizing my work in a lineage of feminist poetry that I have long respected, embraced, and nodded at, but never taken on directly as a lineage or as an identity. I should talk about that more some time–why the reticence to something so obvious now. I resist being pigeon-holed in all ways I guess, not just aesthetically. In any case, here is the review. It’s unabashedly positive, something I rarely illicit from reviewers and again, I am thankful for that too. Not all reviews need to leave their little wounds.

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