Bøger af Margaret Christakos

That Audible Slippage invokes a poetics of active listening and environmental sound to investigate the ways in which we interact with the world, balancing perception and embodiment alongside a hypnagogic terrain of grief and mortality. Audibility is a primary theme of this collection--what can be heard, what is obstacled, and what remains unheard. Many of the poems included in the collection try to hold spaces open for the slipperiness of the heard and unheard and the not-yet heard and their associated problems: error, insufficiency, loss, incompleteness, and other affects such as fear and avoidance. "A Branch of Happen," the opening section of award-winning poet Margaret Christakos' collection, explores interior listening to both the self as sensation machine and the collaged external soundscape we both hear and fail to hear within the assailing violences and inequities of the news. A second suite, "Heart is a Guest Whippet Resting on a Firm Trunk," is troubled by memories of deceased loved-ones amid the North Saskatchewan River valley and the many-layered history of amiskwaciwâskahikan (Edmonton). The fragmentary "Listening Line Notebook" multiplies the treatment of listening as a situated perceptual, sensory, and ethical process. A final long poem called "The Incubation" navigates ideas of being asleep and awake, altered and attuned, as well as spiritually dis/located in time and space. Poised within and beyond both established and emergent traditions of ecocriticism, contemporary feminisms, and experimental lyric, this intriguing and probing work of sound-illuminated poems welcomes readers into its overlapping worlds with grace.

A brilliant poetic examination of the hypermediatized self.

Space Between Her Lips presents the first selected works of one of Canada's most important poets of the last few decades. Margaret Christakos writes vibrant, exciting, and intellectually challenging poetry. She plays language games that bring a probing and disturbing humour to serious themes that range from childhood and children to women in contemporary techno-capitalist society to feminist literary theory, and so much more. Gregory Betts introduction to the collection highlights her formal diversity and her unique combination of feminist and avant-garde affinities. He connects the geographies of her life including Northern Ontario where she was raised, downtown Toronto where she studied with cutting-edge authors and artists like bpNichol and Michael Snow, and Montreal where she integrated with the country s leading feminist authors and thinkers with her polyphonic experimentation. While traversing the problem of bifurcated identities, Christakos is funny at a deeply semiotic level, wickedly wry, exposing something about the way we think by examining the way we speak of it. In her afterword, Christakos maps out a philosophy of writing that highlights her self-consciousness of the foibles of language but also deep concern for the themes she writes about, including her career-length exploration of self-discovery, hetero-, queer and bi-sexual sexualities, motherhood, self-care, and linguistic alienation. Indeed, Margaret Christakos is a whole-body poet, writing with the materiality of language about the movement of interior thought to embodied experience in the world.

Revelling in the value of social polyphony from Walt Whitman's "e;Song of Myself,"e; Multitudes looks at its contemporary theatres of Facebook and Twitter, post-riot police surveillance, protest culture and poetry itself. With wit, perceptiveness and her trademark linguistic sonar, Margaret Christakos keenly examines intimacies and banishments, as well as intergenerational grief, self-display and social hope.

A collection of poems that looks at our primal appetite for attachment through the modern norms of codependency and co-existence, understanding that the postmodern digital era has created an atmosphere where the vulnerability and tenderness of the individual is both profanely exposed and brazenly reinvented in the arrival of virtual identity.

Imagines poetry as a kind of cubist fascination, at times even a fascination with fascination itself. This book features the delusory spiral reasoning of artistic schools; the fluid politic of desire, gender and domesticity; and, the recurrent trials of revulsion and arousal.

The heart, writes Margaret Christakos, is 'a public organ of private damage.' The poems in "Excessive Love Prostheses" confess, rather than deride, the complexities of contemporary desire, describing a subject that is both public and private, physical and virtual."Excessive Love Prostheses" takes the confessional lyric poem and runs it through Kathy Acker's Cuisinart. Christakos shapes a sensory surfeitry of pornography, cautionary nursery rhymes, mothering, bisexuality and the paradoxes of feminism into poignant analogies for contemporary obsessions and ailments; here are the voices of construction workers, staple sorters, obstetricians, video technicians and others, shattered and sorted by a practiced writerly hand. The result is a near-ecstatic tribute to the hyper-embodied intelligence of a new millennial subject.