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Daphne Marlatt
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Fonds Daphne Marlatt
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Salvage
A scrutiny of the fragments of the author's history and re-envisioning of them from a feminist perspective, a gesture that salvages a past.
The Given
Winner of the Dorothy Livesay Poery Prize Finalist for the Pat Lowther Memorial Award “You remember — what is it you remember? / the feel of home, that moment of coming into your body. . . ” So begins Daphne Marlatt’s haunting and multi-layered long poem, which reads with all the urgency and depth of a novel. Set in present-day and 1950s Vancouver, The Given begins with the news of a mother’s death, then opens up to become an intricate tapestry of lives, as Marlatt deftly interweaves the past with the present, replicating the arc of memory itself, while questing for — and questioning — the meaning of home and identity. Circling around the narrator’s mother — theatrical, troubled, imprisoned in the small existence of a 1950s housewife, and a persistent presence in the lives of others — The Given is a ceremony performed for her, and for all “those who have left, who go on burning in us.” In luminous, deeply resonant fragments, Marlatt resoundingly answers the drive to live with deep attention in a now that is, for all of us, “tangled in the past.”
Touch to My Tongue
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Taken
"In this graceful, haunting, and evocative novel, the Gulf War becomes a touch-stone for Suzanne's meditation on her mother's life in World War II. Taken is a tribute to women whose lives have been taken over, or even taken, by war. In the end, out of the wreckage of grief and power, love and lightÑhowever changedÑendure."
Narrative Deconstructions of Gender in Works by Audrey Thomas, Daphne Marlatt, and Louise Erdrich
Study of three North American women novelists combining the standpoints of gender studies and narratology. By analyzing the works of Thomas, Marlatt, and Erdrich through the lenses of subjectivity, gender studies, and narratology, Caroline Rosenthal brings to light new perspectives on their writings. Although all three authors write metafictions that challenge literary realism and dominant views of gender, the forms of their counter-narratives vary. In her novel Intertidal Life, Thomas traces the disintegration of an identity through narrative devices that unearth ruptures and contradictions in stories of gender. In contrast, Marlatt, in Ana Historic, challenges the regulatory fiction of het...
Rivering
Opening doors, dreaming awake, tracing networks of music and meaning, Marlatt’s poetry stands out as an essential engagement with what matters to anyone writing with a social-environmental conscience. Rivering includes poems inspired by the village of Steveston where, before the war, a Japanese-Canadian community lived within the rhythms of salmon on the Fraser River delta. Also gathered into Rivering: lesbian love poetry from Touch to my Tongue; a transformance of Nicole Brossard’s Mauve; passages from The Given, winner of the 2009 Dorothy Livesay Poetry Prize; a traditional “Kuri” song from the Noh drama, The Gull; and an unpublished excerpt from the chamber opera “Shadow Catch....
Steveston
Ronsdale Press offers a new edition of Steveston, this much loved work by two of Canada's finest poets and photographers. For this edition, Daphne Marlatt has written a new poem, never before published, to offer a postscript from 2001 on the original 1974 undertaking. At the publisher's request, Robert Minden has returned to his photographic archive bringing 9 additional images of Steveston and New Denver to light. In addition, Marlatt and Minden have rethought their decision to interleave poems and photos, and have, instead, created two separate but connected stories -- poetry and pictures that evoke their own rhythms and then speak to each other of their connections. For the first time, Mi...
