The last weekday of the festival will feature a line-up of writers you absolutely do not want to miss. Who knows when they’ll be back again, so now is your chance to visit events, listen to readings, and introduce yourself!
Our last Nooner (Millennium Library, 12:15 – 12:45 p.m.) will feature award-winning author Guy Vanderhaeghe, who will share his recently published novel, A Good Man.
Vanderhaeghe’s performance will be followed by the last Afternoon Book Chat (McNally Robinson, 2:30 – 3:30 p.m.) where Miriam Toews and Rosemary Nixon will explore the power that women can produce when faced with dire circumstances.
At our final Big Ideas session (Millennium Library, 4:30 – 5:30 p.m.), sports historian Richard Brignall will share some of the fascinating stories he’s gathered in Forgotten Heroes: Winnipeg’s Hockey Heritage. Even if you’re a hickey [WONDERFUL mis-type!] fan (and who isn’t in Winnipeg right now?), our lively history will surprise you.
The Friday night Mainstage showcases some real heavy-hitters: Clark Blaise, Waubgeshig Rice, Rosemary Nixon, David Homel, Miriam Toews and Guy Vanderhaeghe. Brace yourself—it’s going to be an incredible night. We’ll close off the evening with the draw for three THIN AIR raffle prizes, each valued at $300. Your last chance to get your tickets is tonight’s intermission.
After the Mainstage, swing by Aqua Books for the After Words Jazz Club (10:30 – 11:30 p.m.). Steven Ross Smith, a master poet and performer, teams up with bassist Steve Kirby and guitarist Kristopher Ulrich to create a never-to-be-repeated performance experience. Settle back with a glass of wine, and soak up the magic.
For all the details, visit thinairwinnipeg.ca. And don’t forget to follow us on Twitter at @WPGTHINAIR, because we’ll be live-tweeting from most events!
Showing posts with label Thin Air. Show all posts
Showing posts with label Thin Air. Show all posts
September 23, 2011
September 22, 2011
Morning tea with Jennifer Still
As the publicist for THIN AIR, one of the perks of the job is the ability to spend time with each writer participating in the festival. When I finished Girlwood – the second book of poetry published by Winnipeg writer Jennifer Still – I immediately wanted to meet her and ask her about her beautiful writing. I emailed her, we started to correspond, and a few weeks later we were sitting inside The Frenchway Café on Corydon Avenue enjoying tea and each other’s company.
The first question I needed to have answered was when and how Still became a writer. It’s a question I ask every writer I meet, and not an easy one to answer.
“When I really think about when I started writing, I realize I’ve written all my life,” Still explained. “I’ve always had the impulse to document my experiences, my feelings, and my perceptions.”
But even though Still has written her entire life, she didn’t truly feel she was a writer until she took a risk and began sharing her material with other people.
“I gave my poems to someone else to read, and that’s a totally different experience,” she said. “So I feel that I became a writer in the serious sense when I started to risk.”
Poetry is a truly beautiful form of literary expression, one that affects every person in a unique way. It is always interesting to ask a writer how he or she began writing poetry, and I wanted to know what made Still choose this particular medium.
“It’s not a conscious choice – to be a poet – but I’ve always been drawn to the musicality of language,” Still explained. “As a young girl, I wasn’t raised in a religious family. We were meant to find what we believed in and poetry has a spiritual quality to me – that deep sense of meaning.”
Still loves reading short stories – and has written in prose throughout her career – but she finds that poetry is the medium to which she always returns.
“I find everything opens up for me when I go back to verse,” she explained. “I feel there is so much potential, and it’s so wild!”
Girlwood, which was published by Brick Books in 2011, is Still’s newest collection, yet she began working on it ten years ago.
“I started – in some ways – writing this book before my first books was published,” she said. “I think this is the book I was wanting to write when my first book came out, but I didn’t have the skills yet to know how to say it this way.”
Still explained that she is constantly writing, and she carries a pocket book and pen in her purse at all times.
“There are poems everywhere, and the key is finding them and getting them down on paper,” she explained. “It’s important always to be listening and taking in the world. It’s a beautiful thing to always be curious about the world, and I love that the most about writing.”
When asked what advice she would give to someone trying to become a poet, Still’s advice was simple.
“Read a lot of poetry that you love,” she said. “Everyone always says ‘read further afield.’ I think you should start reading with what you connect with and what you would like to write. Read anything that fires you up and makes you want to write.”
Last night, I watched Still perform from Girlwood on the THIN AIR 2011 Mainstage at Manitoba Theatre for Young People. She wore a beautiful gold dress, and captivated the audience with her carefully crafted words. I felt a personal attachment to the performance, because I had already read her collection and had an opportunity to discuss it with her before the presentation.
I can’t wait to read Still’s next collection – which she has already begun working on – and I hope that we have a chance to sit down for tea again soon.
Jennifer Still is the author of two books of poetry, Saltations (Thistledown, 2005), and Girlwood (Brick, 2011). After an interlude in Saskatoon, she has returned to Winnipeg, where she grew up on Girdwood Crescent.
- Amanda Hope (THIN AIR publicist!)
The first question I needed to have answered was when and how Still became a writer. It’s a question I ask every writer I meet, and not an easy one to answer.
“When I really think about when I started writing, I realize I’ve written all my life,” Still explained. “I’ve always had the impulse to document my experiences, my feelings, and my perceptions.”
But even though Still has written her entire life, she didn’t truly feel she was a writer until she took a risk and began sharing her material with other people.
“I gave my poems to someone else to read, and that’s a totally different experience,” she said. “So I feel that I became a writer in the serious sense when I started to risk.”
Poetry is a truly beautiful form of literary expression, one that affects every person in a unique way. It is always interesting to ask a writer how he or she began writing poetry, and I wanted to know what made Still choose this particular medium.
“It’s not a conscious choice – to be a poet – but I’ve always been drawn to the musicality of language,” Still explained. “As a young girl, I wasn’t raised in a religious family. We were meant to find what we believed in and poetry has a spiritual quality to me – that deep sense of meaning.”
Still loves reading short stories – and has written in prose throughout her career – but she finds that poetry is the medium to which she always returns.
“I find everything opens up for me when I go back to verse,” she explained. “I feel there is so much potential, and it’s so wild!”
A gorgeous shot of Jennifer Still..
Girlwood, which was published by Brick Books in 2011, is Still’s newest collection, yet she began working on it ten years ago.
“I started – in some ways – writing this book before my first books was published,” she said. “I think this is the book I was wanting to write when my first book came out, but I didn’t have the skills yet to know how to say it this way.”
Still explained that she is constantly writing, and she carries a pocket book and pen in her purse at all times.
“There are poems everywhere, and the key is finding them and getting them down on paper,” she explained. “It’s important always to be listening and taking in the world. It’s a beautiful thing to always be curious about the world, and I love that the most about writing.”
When asked what advice she would give to someone trying to become a poet, Still’s advice was simple.
“Read a lot of poetry that you love,” she said. “Everyone always says ‘read further afield.’ I think you should start reading with what you connect with and what you would like to write. Read anything that fires you up and makes you want to write.”
Last night, I watched Still perform from Girlwood on the THIN AIR 2011 Mainstage at Manitoba Theatre for Young People. She wore a beautiful gold dress, and captivated the audience with her carefully crafted words. I felt a personal attachment to the performance, because I had already read her collection and had an opportunity to discuss it with her before the presentation.
I can’t wait to read Still’s next collection – which she has already begun working on – and I hope that we have a chance to sit down for tea again soon.
Jennifer Still is the author of two books of poetry, Saltations (Thistledown, 2005), and Girlwood (Brick, 2011). After an interlude in Saskatoon, she has returned to Winnipeg, where she grew up on Girdwood Crescent.
- Amanda Hope (THIN AIR publicist!)
Wednesday's Big Ideas: Grammar Matters... or does it?
Are u one of those people who just cant stand when one of you’re ackwaintances has poor grammer or spelling? For some people, its like nail’s on a chalkboard. Haha.
I’m one of them, absolutely. Do I feel smarter than those who can’t seem to get it together when it comes to the ‘proper’ way to write? Sometimes. Do I judge them as perhaps less intelligent or at least less educated? Probably.
Linguistics professor Jila Ghomeshi’s book Grammar Matters: The Social Significance of How We Use Language has an innovative take on this grammar hierarchy we seem to be living in. At Wednesday’s Big Ideas lecture, she brought up some fascinating points about how the frameworks of grammar and language define our identities and our prejudices.
Her message: There is no such thing as good and bad grammar, but simply different ways of using the language that mirror socio-economic and cultural backgrounds, age groups, etc. Grammar snobs who like to complain about how others butcher the language are displaying prejudice masked as intellectualism. Because when it comes down to it, she says arguments about how ‘proper’ grammar promotes clarity and logic in writing and speaking don’t hold water when looking at the reality of how language is used in different groups.
As brought up by some fairly distraught audience members, (this topic strikes a surprisingly emotional chord with many) the tricky thing here is finding the line between grammatical diversity, and plain-and-simple unclear writing. Perhaps many of us are too biased to make that distinction. As someone who has done editing work, this idea is huge.
So if grammar doesn’t matter, what does? Surely we can’t just lose all standards when it comes to teaching people how to communicate. Ghomeshi agrees—she says the key to effective communication through language is not about adhering to a rigid grammar paradigm. Instead, it’s about the writer’s ability to take the reader’s perspective. Basically, it's about writing (or speaking) for your audience-- a skill any good communicator needs to have.
If the audience will respond to what is traditionally considered ‘good’ grammar and formal academic language (I was about to say 'high level language' but then backspaced... there's my bias peeking through!), then that’s the way to go. But if you’re writing for an audience that can’t relate to a very formal style, sticking to it out of principal only marginalizes them and shows an inability to truly understand the fluid nature of language.
As snobby as I can be about language, I actually do see myself engaging in the linguistic flexibility Ghomeshi's talking about. When chatting with friends on the Internet or on text message, I often find myself dropping apostrophes, abbreviating words, and abandoning capital letters. This might be something a non-digital generation would not understand, and some might say it degrades the language as a whole-- but that's not true. The quality of communication is not damaged and is in fact made more efficient, in that particular context.
If the audience will respond to what is traditionally considered ‘good’ grammar and formal academic language (I was about to say 'high level language' but then backspaced... there's my bias peeking through!), then that’s the way to go. But if you’re writing for an audience that can’t relate to a very formal style, sticking to it out of principal only marginalizes them and shows an inability to truly understand the fluid nature of language.
As snobby as I can be about language, I actually do see myself engaging in the linguistic flexibility Ghomeshi's talking about. When chatting with friends on the Internet or on text message, I often find myself dropping apostrophes, abbreviating words, and abandoning capital letters. This might be something a non-digital generation would not understand, and some might say it degrades the language as a whole-- but that's not true. The quality of communication is not damaged and is in fact made more efficient, in that particular context.
I’m always up for gaining more clarity on the reasons I perceive the world a certain way, and this very cute and slim book (which I picked up after the lecture) certainly gives me a lot to think about. Am I ready to fully abandon my grip on what I perceive to be the ‘right’ way to write? Perhaps not yet, but maybe by the end of the book, I will be.
- -- Sandy Klowak
Thursday at THIN AIR…
Today is all about languages – English, French, Spanish, Low German and Shetlandic…
At The Nooner (Millennium Library, 12:15 – 12:45 p.m.), Scottish author Christine De Luca will read from her debut novel, And then forever. She’s travelled all the way from Scotland to be a part of THIN AIR 2011. Catch her at noon, and again this evening on the Mainstage.
The Afternoon Book Chat (McNally Robinson, 2:30 – 3:30 p.m.) will feature Di Brandt and David Homel, writers who discuss life and how to get the most from it.
During our Big Ideas session (Millennium Library, 4:30 – 5:30 p.m.), Myrl Coulter will discuss the heartbreak associated with giving her first child up for adoption. Though not specifically about languages, her memoir – The House with the Broken Two – is beautifully written, thoughtfully crafted, and an eye-opener about the difficulties of adoption.
In around the edges, campus readings by Glen Downie (Red River, 11:00 – noon) and Clark Blaise (UW, 4:00 – 5:15 pm), and in the Foyer des écrivains stream, a discussion about translation with local writer-translator Charles Leblanc and Haitian-Canadian novelist Dany Laferrière.
At the end of a full day of events, our Mainstage presentation will be filled with the rich sounds of all the different languages we’ve gathered together. Christine De Luca reads poems in English and Shetlandic. Di Brandt’s poems ring out in English, French, Low German, and Spanish. Francophone powerhouse Dany Laferrière teams up with his English translator David Homel.
For all the details, visit thinairwinnipeg.ca. And don’t forget to follow us on Twitter at @WPGTHINAIR, because we’ll be live-tweeting from most events!
At The Nooner (Millennium Library, 12:15 – 12:45 p.m.), Scottish author Christine De Luca will read from her debut novel, And then forever. She’s travelled all the way from Scotland to be a part of THIN AIR 2011. Catch her at noon, and again this evening on the Mainstage.
The Afternoon Book Chat (McNally Robinson, 2:30 – 3:30 p.m.) will feature Di Brandt and David Homel, writers who discuss life and how to get the most from it.
During our Big Ideas session (Millennium Library, 4:30 – 5:30 p.m.), Myrl Coulter will discuss the heartbreak associated with giving her first child up for adoption. Though not specifically about languages, her memoir – The House with the Broken Two – is beautifully written, thoughtfully crafted, and an eye-opener about the difficulties of adoption.
In around the edges, campus readings by Glen Downie (Red River, 11:00 – noon) and Clark Blaise (UW, 4:00 – 5:15 pm), and in the Foyer des écrivains stream, a discussion about translation with local writer-translator Charles Leblanc and Haitian-Canadian novelist Dany Laferrière.
At the end of a full day of events, our Mainstage presentation will be filled with the rich sounds of all the different languages we’ve gathered together. Christine De Luca reads poems in English and Shetlandic. Di Brandt’s poems ring out in English, French, Low German, and Spanish. Francophone powerhouse Dany Laferrière teams up with his English translator David Homel.
For all the details, visit thinairwinnipeg.ca. And don’t forget to follow us on Twitter at @WPGTHINAIR, because we’ll be live-tweeting from most events!
Wednesday Night Poetry Bash
When I arrived at MTYP at 7:30 p.m. on Wednesday night to attend the Poetry Bash, I immediately took notice of the dress code for the evening. I felt like I was in Wolseley (my old neighbourhood). People were dressed in their best hippie garments, and even a few quirky hats (which I think was the perfect attire for an evening of poetry reading).
What surprised me most about the writers was the total and complete difference between each style, performance and voice. I remember the THIN AIR festival two years ago when I heard George Elliott Clarke read from his book, George and Rue. I was taken by the pure performance artist that GEC is.
On Wednesday night I was waiting for another moment like it... and I got it, from Sandra Ridley. When she got up on stage, her body language spoke louder than anything. She was open and willing to share her art with the audience. Her style, she told the audience, was to read through a bunch of her poems and not stop for a break except to quickly tell us the title of the new poem.
If Ridley was nervous, I didn't know it. She paused for effect, she was breathy, yet totally clear. Her words were crisp and her tone went from a higher pitch to a lower breath in one sentence. Certain syllables were extra pronounced like the importance hung heavy on those last few letters of a particular word. I met Sandra after, and told her if she ever records her poetry to email me so I can download it and listen to it on a nice long fall walk.
The other poets were great too. Glen Downie, Gabe Foreman, Jacob McArthur Mooney and Jennifer Still read their poetry from the bottom of their hearts, and I listened intently to the stories of their lives. There were over 100 people in attendance, and the stage was modernly furnished with EQ3 furniture.
I had a blast and loved being surrounded by people who truly believed in their art form. I will definitely be in attendance for next year's Poetry Bash.
-Jasmine Tara
What surprised me most about the writers was the total and complete difference between each style, performance and voice. I remember the THIN AIR festival two years ago when I heard George Elliott Clarke read from his book, George and Rue. I was taken by the pure performance artist that GEC is.
On Wednesday night I was waiting for another moment like it... and I got it, from Sandra Ridley. When she got up on stage, her body language spoke louder than anything. She was open and willing to share her art with the audience. Her style, she told the audience, was to read through a bunch of her poems and not stop for a break except to quickly tell us the title of the new poem.
If Ridley was nervous, I didn't know it. She paused for effect, she was breathy, yet totally clear. Her words were crisp and her tone went from a higher pitch to a lower breath in one sentence. Certain syllables were extra pronounced like the importance hung heavy on those last few letters of a particular word. I met Sandra after, and told her if she ever records her poetry to email me so I can download it and listen to it on a nice long fall walk.
The other poets were great too. Glen Downie, Gabe Foreman, Jacob McArthur Mooney and Jennifer Still read their poetry from the bottom of their hearts, and I listened intently to the stories of their lives. There were over 100 people in attendance, and the stage was modernly furnished with EQ3 furniture.
I had a blast and loved being surrounded by people who truly believed in their art form. I will definitely be in attendance for next year's Poetry Bash.
-Jasmine Tara
September 21, 2011
Tuesday Mainstage: finding ourselves in unlikely places
It's both exhilarating and terrifying--the vast spectrum of interpretation any piece of literature (and most expressions of art) can elicit in its audience.
As I grow as a writer and reader, I’m learning to focus less on ‘what it’s supposed to mean,’ and more on experiencing the emotional reactions evoked by wonderful writing.
When it’s a theme as profound and potentially broad as that of Tuesday’s Thin Air Mainstage show (an exploration of ‘who we are’ based on where we come from and where we are headed), these experiences are not hard to find.
There was Manitoba short story writer Sheila McClarty’s heart-wrenching description of an elephant handler leading his animal to her death, and Lebanon-born writer Dimitri Nasrallah’s raw and haunting account of an amnesiac rejoicing at [what may be] his first child’s birth, while dealing with the stillborn death of her unexpected twin brother.
Then there was WD Valgardson’s tale of the trolls whose presence brings hardship to an already struggling Icelandic community and one woman’s difficult choice to escape to faraway New Iceland, Manitoba’s own Interlake region.
There were poems by Ron Charach illustrating childhood memories of a blonde, green-eyed Jewish boy searching for his identity, and excerpts from a musical by Marty Chan about a father leaving his son behind to search out prosperity for his family in an unknown land.
These stories span continents, genres, decades and a breadth of human emotion, yet they can all speak to how identity is delicately entwined with our past, present and future. Some thoughts inspired by last night’s reading, no doubt not an exhaustive list of what 'we are':
We are what we remember, whether real or imagined.
We are the things we haven’t done, our fears, regrets. We are what we’ve lost.
We are the suffering and heart-wrenching choices of our ancestors. We are the stories and superstitions our communities were built upon. We are the people and places we’ve left behind, and the expectations we have of the places we're going.
We are our parents and our children. We are the pieces of ourselves we send out into the world. We are the people we have touched and who have touched us.
We are reflections of ourselves glimpsed on unlikely surfaces.
-- Sandy Klowak
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