Undoing Hours

Image of book cover for "Undoing Hours."Selina Boan’s debut poetry collection Undoing Hours (Nightwood Editions, 2021) sidelined me for weeks. Read a few pages, fill up on her heartfelt and playful language, feel the swell, come apart at the seams a little bit, put it down, try again; “take your mess / bless it and start over” (30).

Boan’s poems are topographical, concrete, resonant like “messages threading through roots” (62), footsteps, vibrating engines. They take all the time they need to warm up, to untangle themselves—and so you must (take your time, wait, return).

Settler and Nehiyaw herself, Boan presents Nêhiyawêwin (Cree) and English as tools that can explore, breach, or harvest from the body—“blood skin pus / where pain lets itself out little by little” (72)—while bodies, too, are celebrated as instruments for confronting, embracing, or disassembling language, “cracking his skull” (32). It’s a lot. In the best possible way, it’s a lot.
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Among Silent Echoes: A Memoir of Trauma and Resilience

Gratitude is something we are reminded to acknowledge every day. While we are aware that others have lives harder than our own, it’s something else entirely to read about such lives in detail—to attach a human face to the concept and rid ourselves of our own ignorance, if only slightly. Phyllis Dyson’s debut, Among Silent Echoes: A Memoir of Trauma and Resilience (Caitlin Press, 2021), is well-researched and portrays its themes of mental illness with a sympathetic, understanding, and personal perspective. She recounts the story of her life, depicting the impact her mother’s schizophrenia has had—and continues to have—on the way she views the world.

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Good Mothers Don’t

Even in lives riddled with tragedy, there are always moments, if scattered, that give hope for the future. Nova Scotia author (and Understorey Magazine contributor) Laura Best builds on this duality in every aspect of her latest novel, Good Mothers Don’t (Nimbus Publishing, 2020). Best details the after-effects of electroshock therapy and other ‘treatments’ for mental illness in the mid-1900s, only to then contrast them with warm themes of motherhood, family, and home. She portrays her characters in their many shades of gray, never sacrificing their realism to earn the affections of her readers. Among Best’s characters, none are completely evil and none are completely innocent; there are only broken people, and those who are a little more broken than others.

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Little Housewolf

book cover for Little Housewolf showing a collection of wooden clothespinsThe summary and review excerpts on the front flap and back cover of Medrie Purdham’s Little Housewolf (Véhicule Press/Signal Poetry, 2021) celebrate the considerable skill with which the poet brings tiny, fragile objects into focus—often temporarily into life.

All this laudatory metadata is perfectly true, yet at odds with what I found most intriguing in Purdham’s collection: its teeming menagerie of birds. Whether as specimens or metaphors, lead actors or silhouettes, they are everywhere—roosting and nesting in more poems than not.

The book opens with “Hinge,” a meditation on a creaky old gate that I suspect of being narrated by three birds in a trench coat, pretending to be human: “And every day we came home / […]. Each to his identical little plot / piled high with long mouldy hay and lost plumage.”

From there, the game is afoot: where else are birds hiding in this book that so carefully minds things that are lost in pockets, rolled into corners, almost out of view?

If I could hold Little Housewolf to my ear like a seashell, who would be chirping in the background? In “Carapace,” for instance, the reader is invited to consider crab shells, yet a grandmother’s long-wounded foot has the unfeathered flesh of a newly hatched chick: “tended and collapsed / simmered red”—an image both delicate and unnerving, cooked and raw.

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The Quiet Is Loud

Cover image for The Quiet Is LoudThe Quiet is Loud (forthcoming from Invisible) is a zeitgeist zirconia, a choker of sparkling speculation for Gen Z readers whose reading tastes are migrating toward adult literary spec fic. For her debut novel, Toronto writer Samantha Garner pours her curiosity into an approachable, recognizable narrative structure that is just right for this audience: the world as we know it, but with one important, uncanny difference. In Quiet, that key difference is the existence of people with telepathic and telekinetic powers—“vekers.”

Garner is deeply attentive to the social consequences of the world she has created. As we might expect in a reboot of The Twilight Zone or in an X-Men spin off, vekers are misunderstood and feared; their nickname is a slur. Most have no choice but to hide their identities, including our protagonist, Freya. Though in her mid-20s, Freya’s maturity and independence are hindered by a childhood tragedy that occurred just as she was discovering her psychic abilities. With the support of a trusted cousin and a handful of new veker friends, Freya’s story becomes a coming-of-age narrative that allows her to develop and heal.

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