Inspired by the rapidly changing landscape of the Waterloo Region, The Larger Forgetting is a coming together of work by painter Amanda Rhodenizer and poet Laurie D. Graham.
Made over the course of two years, Rhodenizer’s paintings are based on source material gathered from visits to sites of ongoing development around the outskirts of the region. The loose brushwork and neon under-painting depict empty construction sites and isolated figures in stylish condo units.
Graham’s lines of poetry hint at the sounds and sensations that come along with “breaking ground” for new developments and what’s left in the quiet moments when the trucks turn off for the day. The brief nature of the lines and their imagery reflect land in states of flux and trauma.
These are the moments of transition that are shaping the land in Waterloo, its history fraught with colonial tension and its future uses still unknown. By drawing attention to these places and moments, can we somehow connect to the fleeting present reality of these sites?
Order your copy of this limited-edition chapbook through Open Sesame.
There are boundaries, borders and diversity to both loss and belonging. In Settler Education, Graham delineates them all with respect and astounding talent. At a time when Canada looks for reconciliation, they often leave out the first necessary step: truth. This startling collection is a map of the poet’s personal truth gathering, told from the perspective of a self-identified settler seeking out the true shape and scope of Canada, one with Indigenous territoriality as central compass. — Jury citation, Trillium Book Award for Poetry
Praise for Settler Education:
These poems are the roadside interpretive signs that were never installed on the Prairies. They are absences, negative spaces, impossibilities. These poems are voices long forgotten, and the ghosts of voices. — Kelly Shepherd for The Goose
As the title implies, this is a history book, one that rewrites the facts we’ve been taught in order to include a perspective so often left out, glazed over, or swept under the rug….This is the beating heart of Graham’s work, the pulse we feel throughout the long journey. — Megan Callahan for Vallum
Rove is a deeply moving, funny, wild-hearted, argumentative, insistent long poem—without a single false note or soft line. — Michael Ondaatje
This brilliant, large-hearted poem is where the quest of Suknaski, Kroetsch, MacKinnon, and Zwicky has gone, picking up new, idiosyncratic preoccupations along the way. How good it is to have this book. — Tim Lilburn
Praise for Rove:
Rove reads like a river, sweeping the sediment of cultural and personal history together as it sweeps readers up with it…It’s both forceful and dreamy, critical and congratulatory. It is a book of place: a story of oil and Edmonton; of immigrants managing in the new world; of how disconnected our cities make us, and the reasons why we flock to them. It is a lament for “Home calling like a horn through fog.” It is a life. — Shelley A. Leedahl for SPG
Swiftly moving, self-assured, plainspoken, loose, funny, and pressing in its occupations, this is a book you read cover to cover in one sitting. And then you read it again. — Danielle Janess for Arc Poetry Magazine
[A]n ambitious and accomplished book-length poem. — Michael Greenstein for The Malahat Review
Rove is an elegant epic poem so rooted in the soil of the Canadian west it comes from that you might find some earth under your fingernails every time you turn a page. — Michael Dennis, on his blog
(If you’re looking for Rove the quarterly of digital broadsides out of Berea, Kentucky, here they are.)