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Garden Physic
A musical celebration of the garden, from chaff to grass, and all of its lowly weeds, herbs, and creatures Sylvia Legris’s Garden Physic is a paean to the pleasures and delights of one of the world’s most cherished pastimes: Gardening! “At the center of the garden the heart,” she writes, “Red as any rose. Pulsing / balloon vine. Love in a puff.” As if composed out of a botanical glossolalia of her own invention, Legris’s poems map the garden as body and the body as garden—her words at home in the phytological and anatomical—like birds in a nest. From an imagined love-letter exchange on plants between garden designer Vita Sackville-West and Harold Nicolson to a painting by Agnes Martin to the medicinal discourse of the first-century Greek pharmacologist Pedanius Dioscorides, Garden Physic engages with the anaphrodisiacs of language with a compressed vitality reminiscent of Louis Zukofsky’s “80 Flowers.” In muskeg and yard, her study of nature bursts forth with rainworm, whorl of horsetail, and fern radiation—spring beauty in the lines, a healing potion in verse.
Nerve Squall
Winner of the 2006 Griffin Poetry Prize Sonic congestion. Purgatorial traffic jam: corkscrewing countercochlearwise the only way out. Nerve Squall is a field guide like no other, a surreal handbook to a landscape at the crossroads of meteorology and neurology, where the electrical storms without and the electrical impulses within converge. Legris's fascination with weather, ghosts and brain disorders is the starting point for a collection of poetry that ensures you'll never look at nature the same way again. You'll find snow golems and ghost cats, and a sky filled with fish swimming the winds of a storm. And you'll find a haunted terrain where the natural world becomes an allegory for our mo...
The Hideous Hidden
From the winner of the Griffin Prize, a richly lyrical collection of poems exploring the body's minutiae
The Principle of Rapid Peering
Self-seeding wind is a wind of ever-replenishing breath. -from 'The Walk, or The Principle of Rapid Peering' The title of Sylvia Legris' melopoeic collection The Principle of Rapid Peering comes from a phrase the nineteenth-century ornithologist and field biologist Joseph Grinnell used to describe the feeding behaviour of certain birds. Rather than waiting passively for food to approach them, these birds live in a continuous mode of 'rapid peering'. Legris explores this rich theme of active observation through a spray of poems that together form a kind of almanac or naturalist's notebook in verse. Here is 'where nature converges with words,' as the poet walks through prairie habitats near her home in Saskatchewan, through lawless chronologies and mellifluous strophes of strobili and solstice. Moths appear frequently, as do birds and plants and larvae, all meticulously observed and documented with an oblique sense of the pandemic marking the seasons. Elements of weather, ornithology, entomology, and anatomy feed her condensed, inflective lines, making the heart bloom and the intellect dance. Features drawings by the poet.
Garden Physic
Garden Physic is a radical poetic movement through plant life. With her singular line, she journeys readers through an investigation of how we articulate our ecological surrounds in language through botanical histories. With a structure that emulates the style of classic manuscripts, Legris's book deploys humour, deep intellect, and a fanatical obsession with the potential of language, punching through the cliches of contemporary nature writing. A brief snapshot: how to write about flowers without the nauseating sentimental phraseology? No quaint, no dainty, no winsome. This smells good, that smells bad, my hands rank with manure. This at least is pure. The whole book is a glorious meditation on the garden and the power of plants: how they can heal us, emotionally and physically, and how we communicate with them.
Pneumatic Antiphonal
Part of our revived Poetry Pamphlets series, Pneumatic Antiphonal is a fun, humming, bio-physiological word-whizzing flight into birdsong penned by young Canadian poet, Sylvia Legris -- her first publication in the U.S. An excerpt: The theory of corpuscular flight is the cardinal premise of red birds carrying song-particles carrying oxygen. Erythrocytic. Sticky. Five quarts of migration.
The Hideous Hidden
From the winner of the Griffin Prize, a richly lyrical collection of poems exploring the body’s minutiae In her first full-length collection published in the United States, Sylvia Legris probes and peels, carves and cleaves, amputates and dissects, to reveal the poetic potential of human and animal anatomy. Starting with the Greek writings of Hippocrates and the Latin language of medicine, and drawing from Leonardo da Vinci’s Anatomical Manuscripts, the dermatologist Robert Willan’s On Cutaneous Diseases (1808), and Baudelaire’s The Flowers of Evil, Legris infuses each poem with unique rhythms that roll off the tongue. The Hideous Hidden boldly celebrates anatomy’s wonders: “Renounce the vestibule of non-vital vitals. / Confess the gallbladder, / the glandular wallflowers, / the objectionable oblong spleen.”
Circuitry of Veins
circuitry of veins explores the relationships between women and their bodies, their families and society. Legris captures, like a photographer, the art of poetry, the essence of language, and the emotive powers of words set side by side in ink."...reaches a kind of almost classical perfection."--Prairie Fire"A beautifully written and politically layered exploration."--Feminist Bookstore News"Frightening, funny, breathtaking--poems that haunt you."--Betsy Warland
TreeTalk
During the heatwave of July 2017, Ariel Gordon spent two days sitting on the patio of downtown Winnipegs Tallest Poppy, writing snippets of poems which she hung from the boulevard tree using paper and string. Passersby were invited to TreeTalk too their secrets / one-liners / meditations / haiku were also hung from the tree. By the end of the weekend, the elm had a second temporary canopy of leaves: 234 poems, 111 written by Gordon, 107 written by passersby, and 16 from other sources. Gordon has assembled all these voices into a long/found poem that asks: what does it mean to live in the urban forest? What does it mean to be in relationship with each other but also with the more-than-human? The book also includes pen and ink illustrations by Winnipeg artist Natalie Baird. Since 2017, Gordon has also hung poems in trees at the Sage Hill Poetry Experience in Muenster, SK, the Prairie Gate Literary Festival in Morris, MN, and at the Winnipeg Folk Festival as part of the Prairie Outdoor Exhibition. Stay tuned for more TreeTalk-ing!
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