FOLD FOLD spine = 5.1mm BB E F Lorna Crozier’s radical imagination,and the finely tuned O E emotional intelligence that is revealed in the clarity ofher poetry, R E have made her one ofCanada’s most popular poets. FT H Before the First Word Before the First Word: The Poetry ofLorna Crozieris a collec- E tion ofthirty-five ofCrozier’s best poems,selected and introduced OF The Poetry of Lorna Crozier I R by Catherine Hunter with an afterword by the poet herself.Repre- S senting Crozier’s work from 1980to 2002,this collection reveals the RT selected with an introduction by W wide range ofher voice in its most lyrical,contemplative,ironic, Catherine Hunter O and witty moments. ER D Hunter’s introduction discusses the poet’s major themes,with T particular attention to Crozier’s feminist approach to biblical myth h Te and her fascination with absence and silence as sites for imagina- P o tive revision.Crozier’s afterword,“See How Many Ends This Stick Het r Has:A Reflection on Poetry,”is a lyrical meditation that provides y o an inspirational glimpse into the philosophy ofa writer who prizes Ef L the intensity ofawareness that poetry demands,and is tantalized o r n by “what predates speaking”and “all that can’t be named.” a This engaging volume will appeal to students as well as general FC r o readers ofpoetry. Iz • ie Rr • LornaCrozier’s work has won many awards,including the Governor Sse General’s Award in 1992(for Inventing the Hawk),the first prize for le c t poetry in the cbcLiterary Competition,the Canadian Authors Asso- e Td ciation Award for Poetry in 1992,a National Magazine Award in 1995, w and two Pat Lowther Memorial Awards (1993and 1996) for the best ith a book ofpoetry by a Canadian woman.She has published numerous Wn books ofpoetry,most recently,Whetstone.Born in Swift Current, in t r Saskatchewan,she now lives in British Columbia,where she is a o d Distinguished Professor at the University ofVictoria. Ou c t io n CatherineHunter is a poet,novelist,editor ofthe Muses’Co.Press, Rb y and associate professor ofEnglish at the University ofWinnipeg.Her C most recent work is the novella In the First Early Days ofMy Death. a Dt h e r in e H u n t e r ISBN 0-88920-489-6 FOLD PJWOODLAND | [email protected] |WLU Press | Crozier: Before the first word | cmyk | spine = 5.1 mm CYAN MAGENTA YELLOW K Before theFirstWord ThePoetryofLornaCrozier Before theFirstWord ThePoetryofLornaCrozier Selected with an introduction by Catherine Hunter and an afterword by Lorna Crozier We acknowledge the support ofthe Canada Council for the Arts for our publish- ing program.We acknowledge the financial support ofthe Government ofCanada through the Book Publishing Industry Development Program for our publishing activities. Library and Archives Canada Cataloguing in Publication Crozier,Lorna,1948– Before the first word :the poetry ofLorna Crozier / selected,with an intro- duction by Catherine Hunter ;and an afterword by Lorna Crozier. (Laurier poetry series) Includes bibliographical references. isbn0-88920-489-6 i.Hunter,Catherine,1957– ii.Title. iii.Series. ps8555.r72a6 2005 c811'.54 c2005-904701-1 © 2005Wilfrid Laurier University Press Waterloo,Ontario,Canada n2l 3c5 www.wlupress.wlu.ca Cover image:Erica Grimm Vance.Growing Fiery Wings,1998.Encaustic,steel,and gold,35"x45".The artist’s work can be seen at www.egrimmvance.com Cover and text design by P.J.Woodland. Every reasonable effort has been made to acquire permission for copyright mate- rial used in this text,and to acknowledge all such indebtedness accurately.Any errors and omissions called to the publisher’s attention will be corrected in future printings. ∞ Printed in Canada No part ofthis publication may be reproduced,stored in a retrieval system or trans- mitted, in any form or by any means, without the prior written consent ofthe publisher or a licence from The Canadian Copyright Licensing Agency (Access Copyright).For an Access Copyright licence,visit www.accesscopyright.ca or call toll free to 1-800-893-5777. Table of Contents Foreword,Neil Besner / vii Biographical Note / viii Introduction,Catherine Hunter / ix Still-Life / 1 Poem about Nothing / 2 This Is a Love Poem without Restraint / 5 The Child Who Walks Backwards / 8 Carrots / 9 Onions / 10 Fear ofSnakes / 11 Quitting Smoking / 12 The Goldberg Variations / 14 Home Town / 15 Male Thrust / 16 Mother and I,Walking / 17 How to Stop Missing Your Friend Who Died / 18 On the Seventh Day / 19 Living Day by Day / 21 Angel ofBees / 22 Canada Day Parade / 23 The Dark Ages ofthe Sea / 25 The Red Onion in Skagway,Alaska / 27 The Wild Boys / 29 The Garden at Night / 32 Going Back / 33 v > Dust / 34 The Kind ofWoman / 35 Not the Music / 37 Mrs.Bentley / 38 Packing for the Future:Instructions / 39 Watching My Lover / 41 What You Remember Remains / 43 A Kind ofLove / 44 Wildflowers / 46 The Origin ofthe Species / 47 What the Snake Brings to the World / 49 Original Sin: 1.The First Woman / 50 2.The Fall ofEve / 52 The Sacrifice ofIsaac / 53 Afterword:See How Many Ends This Stick Has,by Lorna Crozier / 55 Acknowledgements / 61 vi / Contents Foreword At the beginning ofthe twenty-first century,poetry in Canada—writing and publishing it,reading and thinking about it—finds itselfin a strangely conflicted place.We have many strong poets continuing to produce excit- ing new work,and there is still a small audience for poetry;but increas- ingly,poetry is becoming a vulnerable art,for reasons that don’t need to be rehearsed. But there are things to be done:we need more real engagement with our poets.There needs to be more access to their work in more venues— in classrooms,in the public arena,in the media—and there needs to be more,and more different kinds ofpublications,that make the wide range ofour contemporary poetry more widely available. The hope that animates this new series from Wilfrid Laurier Univer- sity Press is that these volumes will help to create and sustain the larger readership that contemporary Canadian poetry so richly deserves.Like our fiction writers,our poets are much celebrated abroad;they should just as properly be better known at home. Our idea has been to ask a critic (sometimes herselfa poet) to select thirty-five poems from across a poet’s career;write an engaging,access- ible introduction;and have the poet write an afterword.In this way,we think that the usual practice ofteaching a poet through eight or twelve poems from an anthology will be much improved upon;and readers in and out ofclassrooms will have more useful,engaging,and comprehen- sive introductions to a poet’s work.Readers might also come to see more readily,we hope,the connections among,as well as the distances between, the life and the work. It was the ending ofan Al Purdy poem that gave Margaret Laurence the epigraph for TheDiviners:“but they had their being once/and left a place to stand on.”Our poets still do,and they are leaving many places to stand on.We hope that this series will help,variously,to show how and why this is so. —Neil Besner General Editor vii Biographical Note One ofCanada’s best-known poets,Lorna Crozier was born in Swift Current,Saskatchewan,on May 24,1948,and grew up there,moving to Saskatoon after high school to attend the University ofSaskatchewan. After graduating with a bain 1969,she returned to Swift Current to teach high school English.Her first books ofpoetry,Inside Is the Sky (1976) and Crow’s Black Joy(1978),established Crozier as a poet intimately familiar not only with a prairie landscape but,just as importantly,with the climate offeeling generated on the prairie.In the seventies,Crozier was involved in many ofthe movements that began to establish Saskatchewan writing as a strong force in Canada,including the founding ofthe Summer School ofthe Arts at Fort San,the start ofthe Saskatchewan Writers’ Guild,and the founding oftwo important literary journals,Grainand Salt. In 1978Crozier began to live with poet Patrick Lane,and the two have worked together since on many writing projects;Lane often appears as a character in Crozier’s work.Many ofCrozier’s poems create strong female characters and voices;others have a strong political edge that cuts across areas far beyond the prairies or Canada.She has also been active as an anthologist ofprairie writing,editing important collections like A Sudden Radiance: Saskatchewan Poetry(1987).Among her better-known books are The Garden Going On without Us(1985);Inventing the Hawk(1992), which won the Governor General’s Award;ASaving Grace:The Collected Poems ofMrs.Bentley(1996),in which Crozier recreates the voice of Sinclair Ross’s protagonist from his classic novel As For Me and My House (1941);Apocrypha ofLight(2002);Bones in Their Wings: Ghazals(2003); and,most recently,Whetstone(2005).Crozier and Lane currently live in Victoria,where she teaches creative writing at the University ofVictoria. viii Introduction Lorna Crozier’s work enjoys a popularity among the general public that’s rare for poetry in Canada.Valued for its “clarity and accessibility”(Hillis 15),it has been praised because,as Crozier puts it,“the ordinary person can read my work and understand it”(qtd.in Carey 16).Her books are also highly respected by her fellow poets,and have won numerous hon- ours,including the Governor General’s Award for Inventing the Hawk. Scholarly attention to her writing,especially in recent years,continues to grow.Critical approaches range from discussions ofCrozier’s deep con- nection to the landscape and culture ofthe Canadian prairies (e.g.,Carey, Enright,Hillis,Keahey,Weis);to politicized analyses ofher poetics of resistance to social injustices such as political violence (York) and sexual abuse (Boire);to complex theoretical readings ofher mythological allu- sions as critiques ofWestern patriarchy (Gingell),her love poems as protests against female repression (MacDonald),and her use ofthe elegy as “parodic reinscription”ofliterary convention (Bowen 46).Clearly, Crozier has developed a voice with broad appeal,one that popular, literary,and academic readers can all appreciate. The title ofCrozier’s “Poem about Nothing”could be read as a com- mentary on the aesthetic elements that have given her work such a wide and varied audience.As a meditation on the nature ofzero,“Poem about Nothing”illustrates the strong elegiac impulse that runs throughout Crozier’s work.The round numeral zero,“the one we didn’t understand/ at school,”is a visual metaphor for loss or omission,and it’s a fitting topic for a poet who desires to honour what is absent,whether in life or in lit- erature.The poem exemplifies Crozier’s style,in that its light,humorous tone and its elegant simplicity oflanguage are deceptive,for “Poem about Nothing”resists its own title to blossom into a multi-layered engagement with a variety ofsubstantial subjects until,ultimately,the poem is “about nothing”less than the central question ofour existence:what is the rela- tionship between being and not being? Like most ofCrozier’s work, “Poem about Nothing”explores profound philosophical,political,spiri- tual,and emotional issues,all the while appearing to be talking “about ix