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Robert Kroetsch
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Completed Field Notes
This book brings together twenty of Kroetsch's long poems, spanning some of 15 years of creative activity. Remarkably versatile in both form and content, these extended meditations bear witness to Kroetsch's modernist inheritance and his well-known commitment to post-modern jouissance.
The Studhorse Man
Hazard Lepage, the last of the studhorse men, sets out to breed his rare blue stallion, Poseidon. A lusty trickster and a wayward knight, Hazard's outrageous adventures are narrated by Demeter Proudfoot, his secret rival, who writes this story while sitting naked in an empty bathtub. In his quest to save his stallion’s bloodline from extinction, Hazard leaves a trail of anarchy and confusion. Everything he touches erupts into chaos, necessitating frequent convalescences in the arms of a few good women, except for those of Martha, his long-suffering intended. Told with the ribald zeal of a Prairie beer parlor tall tale and the mythic magnitude of a Greek odyssey, The Studhorse Man is Robert Kroetsch’s celebration of unbridled character set against the backdrop of rough-and-ready Alberta emerging after the Second World War. Introduction by Aritha van Herk.
The Robert Kroetsch Papers
Biocritical essay by Aritha Van Herk.
What the Crow Said
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Robert Kroetsch
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The Snowbird Poems
Snowbird travels south to Florida, seeking warmth, but he is not sure if he escaped or if he needs to be rescued.
The Man from the Creeks
Set against the Klondike Gold Rush of the 1890s, The Man from the Creeks is a gripping tale of three entrepreneurs desperate to strike it rich. Fourteen-year-old Peek and his mother, Lou, join up with cooper Benjamin Redd and embark on a treacherous journey to fabled Dawson City. First published in 1998, this is a witty and ribald retelling of Robert Service’s incomparable “The Shooting of Dan McGrew.” From the Trade Paperback edition.
Robert Kroetsch
These essays span the period of Kroetsch's writing. Included are previously published and new essays that cover (some of) his novels, (some of) his poetry, and even (some of) his critical writing. The contributors include writers who knew Kroetsch well and those who only met him on the page; critics at the beginning of their careers and those well established in the Canadian literary field; men and women, writers and poets and critics and damn fine thinkers. The contributors featured are: Robert Archambeau, Catherine Bates, George Bowering, Jenna Butler, Pauline Butling, Dennis Cooley, Tom Dilworth, Nathan Dueck, Jasmine Elliott, Ryan Fitzpatrick, Jon R. Flieger, Jay Gamble, Gary Geddes, Susan Holbrook, Christine Jackman, Brian Jensen, Wiktor Kulinski, Michael Laverty, John Lent, Ann Mandel, Nicole Markotic, John Matias, Roy Miki, John Moss, Brianne O'Grady, Jeff Pardy, and Aritha van Herk.
Writing in Our Time
Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction. To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s. The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah. A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.
