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There Is No Mountain
Known for over three decades as the poet of Wood Mountain, Saskatchewan, Andrew Suknaski was born on a farm near Wood Mountain, Saskatchewan in 1942 of Ukrainian and Polish decent, left home at 16, returned and left home again. Until well into the 1980s, Andrew Suknaski was one of the most prolific, energetic and influential poets in the prairies, through heavy amounts of publishing in small press publications and elsewhere starting in the late 1960s, as well as his own Elfin Plot Press, and caught the eye of Ontario poet and editor Al Purdy, who included Suknaski's poems in his first Storm Warning Anthology (1970), before editing what would become Suknaski's first trade and most famous poet...
The Stone-boat Heart
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Montage for an Interstellar Cry
Montage for an Interstellar Cry is an experimental collection, encompassing the MX Missle, Wood Mountain, and Pinochet's Chile.
Wood Mountain Poems
As fresh and relevant as when first published, Wood Mountain Poems is one of the first books from Canadian prairie literature to examine the division and shared experience between European settlers and Aboriginal peoples. In these poems we gain insight into the lives of historical figures such as Sitting Bull, Crowfoot and Gabriel Dumont. Readers will again relish this prairie journey as they are led by a poetic voice that is impossible to forget. Book jacket.
Suknaski Miscellanea
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Silk Trail
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English Literature and the Other Languages
The thirty essays in English Literature and the Other Languages trace how the tangentiality of English and other modes of language affects the production of English literature, and investigate how questions of linguistic code can be made accessible to literary analysis. This collection studies multilingualism from the Reformation onwards, when Latin was an alternative to the emerging vernacular of the Anglican nation; the eighteenth-century confrontation between English and the languages of the colonies; the process whereby the standard British English of the colonizer has lost ground to independent englishes (American, Canadian, Indian, Caribbean, Nigerian, or New Zealand English), that now...
Sharing the Past
Sharing the Past is an unprecedentedly detailed account of the intertwining discourses of Canadian history and creative literature. When social history emerged as its own field of study in the 1960s, it promised new stories that would bring readers away from the elite writing of academics and closer to the everyday experiences of people. Yet, the academy's continued emphasis on professional distance and objectivity made it difficult for historians to connect with the experiences of those about whom they wrote, and those same emphases made it all but impossible for non-academic experts to be institutionally recognized as historians. Drawing on interviews and new archival materials to construct a history of Canadian poetry written since 1960, Sharing the Past argues that the project of social history has achieved its fullest expression in lyric poetry, a genre in which personal experiences anchor history. Developing this genre since 1960, Canadian poets have provided an inclusive model for a truly social history that indiscriminately shares the right to speak authoritatively of the past.
