酷我-北美枫

[和平岛]

谢冕：北京大学教授，诗歌批评家。
贾平凹：著名作家。
洛夫：台湾诗人。
Lorna Crozier：加拿大著名诗人，最高诗歌奖总督奖获得者，维多利亚大学教授。年限：2005-2006。
樵达摩：年轻诗人。年限：2005-2007。
非马：诗人。年限：2005-2007。
Stephen Owen：中文名宇文所安。哈佛大学教授，著名汉学家。年限：2005-2007。


特此通告！



北美华人文学社理事会



Important Announcement to Make:

Members of the International Advisory Board of the Journal of North American Maple

Xie Mian: Professor of Peking University, Critic of Poetry.
Luo fu: Taiwan Poet, now in Canada.

Jia Pingwa: Famous writer, Chairman of Literature League in Xi’an, Vice President of Writers’ Association of Shanxi Province, Lives in Xi’an.
Lorna Crozier: Poet, chair of the Department of Writing, University of Victoria, Governor General's Award receiver for poetry. Term: 2005-2006.
Qiao Damo：Poet. Term: 2005-2007.
William Marr (Fei Ma): Poet. Term: 2005-2007.
Stephen Owen: Professor of Harvard University, famous sinologist.



Board of Directors
Chinese Literature Society of North America

[[我还没有昵称]]

谢冕：北京大学教授，诗歌批评家。
贾平凹：著名作家。
洛夫：台湾诗人。
Lorna Crozier：加拿大著名诗人，最高诗歌奖总督奖获得者，维多利亚大学教授。年限：2005-2006。
樵达摩：年轻诗人。年限：2005-2007。
非马：诗人。年限：2005-2007。
Stephen Owen：中文名宇文所安。哈佛大学教授，著名汉学家。年限：2005-2007。


特此通告！



北美华人文学社理事会



Important Announcement to Make:

Members of the International Advisory Board of the Journal of North American Maple

Xie Mian: Professor of Peking University, Critic of Poetry.
Luo fu: Taiwan Poet, now in Canada.

Jia Pingwa: Famous writer, Chairman of Literature League in Xi’an, Vice President of Writers’ Association of Shanxi Province, Lives in Xi’an.
Lorna Crozier: Poet, chair of the Department of Writing, University of Victoria, Governor General's Award receiver for poetry. Term: 2005-2006.
Qiao Damo：Poet. Term: 2005-2007.
William Marr (Fei Ma): Poet. Term: 2005-2007.
Stephen Owen: Professor of Harvard University, famous sinologist.



Board of Directors
Chinese Literature Society of North America

[和平岛]

谢冕：1932年1月生，福建省福州人。北京大学中国语言文学研究所所长、北京大学中文系教授、博士研究生导师。中国作家协会全国委员，中国当代文学研究会副会长，并兼任诗歌理论刊物《诗探索》主编。著有学术专著《湖岸诗评》、《共和国的星光》(1983)、《文学的绿色革命》(1988年)、《诗人的创造》(1989年) 《地火依然运行》(1991年)、《新世纪的太阳》、《大转型——后新时期文化研究》（合著）、《1898 ：百年忧患》(1998年)、《论二十世纪中国文学》(1998年) 、《文学评论：方法与实现》等十余种，以及散文随笔集《世纪留言》、《永远的校园》、《流向远方的水》、《心中风景》等。他还主编过《中国当代青年诗选》(1986年)、《中国新诗萃》(合编，1988年)以及大型丛书《二十世纪中国文学》（10卷）、《百年中国文学经典》（8卷）(1997年)、《百年中国文学总系》（12卷）(1998年)等。1986年列名于英国剑桥国际传记中心名人传第12版；1991年列名于美国传记委员会ABI国际杰出人物传记辞典第3版，同年10月被ABI授予杰出成就奖证书、聘为ABI名誉顾问。

Xie Mian: Born in January, 1932, in Fuzhou, Fujian Province, China. He is a professor at Beijing University, Ph.D advisor, director of Chinese Language and Literature Institution at Beijing University. He serves as one of the key members of China Writers' Association and the vice chairman of Chinese Contemporary Literature Research Association. He is the editor-in-chief of Poetry Exploration—a journal publishing critical articles on contemporary Chinese poetry. Xie Mian began to write since 1948. In 1950s, he began to do research on modern and contemporary Chinese literature as well as poetry criticism. His major literary works include Poetry Critique by the Lake, Starlight of the Republic (1983), Green Revolution in Literature (1988), Poet's Creation (1989), Fire of the Earth Still in Motion (1991), Sun of the New Century, Great Transformation---Literary Study of Post-New Era Literature (co-author), 1898: The Hundred-Year Turmoil (1998), Chinese Literature in the 20th Century (1998), Literary Critique: Methodology and Practice. His prose and essay collections include Messages to the Century, Everlasting Campus, Water Flowing to Distance, Landscapes in My Heart, etc. He was the editor-in chief of Selective Works of Contemporary Chinese Young Poets (1986), Chinese Literature of the 20th Century Series (10 volumes), Classical Chinese Literature of One Hundred Years (8 volumes, 1997), Anthology of One Hundred Years' Chinese Literature (12 volumes, 1998) and a co-editor of The Best of Contemporary Chinese Poetry (1988). In 1986, his name entered Biography of the Eminences (12th edition) at the Oxford's International Biography Center. In 1991, his name was listed in American Biography Institute's (ABI) Dictionary of Biographies of International Eminences (3rd edition). He was awarded by ABI the Certificate of Outstanding Achievement and also invited to be an honorary adviser for ABI in the same year.

[[我还没有昵称]]

谢冕：1932年1月生，福建省福州人。北京大学中国语言文学研究所所长、北京大学中文系教授、博士研究生导师。中国作家协会全国委员，中国当代文学研究会副会长，并兼任诗歌理论刊物《诗探索》主编。著有学术专著《湖岸诗评》、《共和国的星光》(1983)、《文学的绿色革命》(1988年)、《诗人的创造》(1989年) 《地火依然运行》(1991年)、《新世纪的太阳》、《大转型——后新时期文化研究》（合著）、《1898 ：百年忧患》(1998年)、《论二十世纪中国文学》(1998年) 、《文学评论：方法与实现》等十余种，以及散文随笔集《世纪留言》、《永远的校园》、《流向远方的水》、《心中风景》等。他还主编过《中国当代青年诗选》(1986年)、《中国新诗萃》(合编，1988年)以及大型丛书《二十世纪中国文学》（10卷）、《百年中国文学经典》（8卷）(1997年)、《百年中国文学总系》（12卷）(1998年)等。1986年列名于英国剑桥国际传记中心名人传第12版；1991年列名于美国传记委员会ABI国际杰出人物传记辞典第3版，同年10月被ABI授予杰出成就奖证书、聘为ABI名誉顾问。

Xie Mian: Born in January, 1932, in Fuzhou, Fujian Province, China. He is a professor at Beijing University, Ph.D advisor, director of Chinese Language and Literature Institution at Beijing University. He serves as one of the key members of China Writers' Association and the vice chairman of Chinese Contemporary Literature Research Association. He is the editor-in-chief of Poetry Exploration—a journal publishing critical articles on contemporary Chinese poetry. Xie Mian began to write since 1948. In 1950s, he began to do research on modern and contemporary Chinese literature as well as poetry criticism. His major literary works include Poetry Critique by the Lake, Starlight of the Republic (1983), Green Revolution in Literature (1988), Poet's Creation (1989), Fire of the Earth Still in Motion (1991), Sun of the New Century, Great Transformation---Literary Study of Post-New Era Literature (co-author), 1898: The Hundred-Year Turmoil (1998), Chinese Literature in the 20th Century (1998), Literary Critique: Methodology and Practice. His prose and essay collections include Messages to the Century, Everlasting Campus, Water Flowing to Distance, Landscapes in My Heart, etc. He was the editor-in chief of Selective Works of Contemporary Chinese Young Poets (1986), Chinese Literature of the 20th Century Series (10 volumes), Classical Chinese Literature of One Hundred Years (8 volumes, 1997), Anthology of One Hundred Years' Chinese Literature (12 volumes, 1998) and a co-editor of The Best of Contemporary Chinese Poetry (1988). In 1986, his name entered Biography of the Eminences (12th edition) at the Oxford's International Biography Center. In 1991, his name was listed in American Biography Institute's (ABI) Dictionary of Biographies of International Eminences (3rd edition). He was awarded by ABI the Certificate of Outstanding Achievement and also invited to be an honorary adviser for ABI in the same year.

[和平岛]

贾平凹
著名作家，西安市文联主席，陕西省作协副主席，现居西安

Jia Pingwa,

Famous author, Chairman of Literature League in Xi’an, Vice President of Writers’ Association of Shanxi Province, Lives in Xi’an

[[我还没有昵称]]

贾平凹
著名作家，西安市文联主席，陕西省作协副主席，现居西安

Jia Pingwa,

Famous author, Chairman of Literature League in Xi’an, Vice President of Writers’ Association of Shanxi Province, Lives in Xi’an

[和平岛]

洛夫简介
洛夫，本姓莫，湖南衡阳人，1928年生，淡江大学英文系毕业，1978年曾任教东吴大学外文系。1954年与张默、痖弦
共同创办《新世纪》诗刊，并任总编辑多年，对台湾现代诗的发展影响深远，作品被译成英、法、日、韩等文，并收入
各种大型诗选，包括台湾出版的《中国当代十大诗人选集》。

洛夫写诗、译诗、教诗、编诗历四十年，著作甚丰，出版诗集《时间之伤》《灵河》（1957）、《石室之死亡》
（1965）、《众荷喧哗》（1976）、《因为风的缘故（1988）、《月光房子》（1990）等十一部，散文集《一朵午荷》
等两部，评论集《诗人之镜》等四部，译著《雨果传》等八部。他的名作《石室之死亡》广受诗坛重视，廿多年来评论不
辍，其中多首为美国汉学家白芝（Cyril Birch）教授选入他主编的《中国文学选集》。1982年他的长诗《血的再版》获
中国时报文学推荐奖，同年诗集《时间之伤》获台湾的中山文艺创作奖，1986年复获吴三连文艺奖。

　洛夫早年为超现实主义诗人，表现手法近乎魔幻，曾被诗坛誉为“诗魔”。台湾出版的《中国当代十大诗人选集》
如此评称：“从明朗到艰涩，又从艰涩返回明朗，洛夫在自我否定与肯定的追求中，表现出惊人的韧性，他对语言的锤炼，
意象的营造，以及从现实中发掘超现实的诗情，乃得以奠定其独特的风格，其世界之广阔、思想之深致、表现手法之繁
复多变，可能无出其右者。”吴三连文艺奖的评语对他更为肯定：“自《魔歌》以后，风格渐渐转变，由繁复趋于简洁，
由激动趋于静观，师承古典而落实生活，成熟之艺术已臻虚实相生，动静皆宜之境地。他的诗直探万物之本质，穷究生命
之意义，且对中国文字锤炼有功。”

　洛夫的诗善于从现象中发掘超现实的诗情，多探索生死之谜，意象奇特，表现手法繁复多变，诗意晦涩朦胧，耐人回味。

[[我还没有昵称]]

洛夫简介
洛夫，本姓莫，湖南衡阳人，1928年生，淡江大学英文系毕业，1978年曾任教东吴大学外文系。1954年与张默、痖弦
共同创办《新世纪》诗刊，并任总编辑多年，对台湾现代诗的发展影响深远，作品被译成英、法、日、韩等文，并收入
各种大型诗选，包括台湾出版的《中国当代十大诗人选集》。

洛夫写诗、译诗、教诗、编诗历四十年，著作甚丰，出版诗集《时间之伤》《灵河》（1957）、《石室之死亡》
（1965）、《众荷喧哗》（1976）、《因为风的缘故（1988）、《月光房子》（1990）等十一部，散文集《一朵午荷》
等两部，评论集《诗人之镜》等四部，译著《雨果传》等八部。他的名作《石室之死亡》广受诗坛重视，廿多年来评论不
辍，其中多首为美国汉学家白芝（Cyril Birch）教授选入他主编的《中国文学选集》。1982年他的长诗《血的再版》获
中国时报文学推荐奖，同年诗集《时间之伤》获台湾的中山文艺创作奖，1986年复获吴三连文艺奖。

　洛夫早年为超现实主义诗人，表现手法近乎魔幻，曾被诗坛誉为“诗魔”。台湾出版的《中国当代十大诗人选集》
如此评称：“从明朗到艰涩，又从艰涩返回明朗，洛夫在自我否定与肯定的追求中，表现出惊人的韧性，他对语言的锤炼，
意象的营造，以及从现实中发掘超现实的诗情，乃得以奠定其独特的风格，其世界之广阔、思想之深致、表现手法之繁
复多变，可能无出其右者。”吴三连文艺奖的评语对他更为肯定：“自《魔歌》以后，风格渐渐转变，由繁复趋于简洁，
由激动趋于静观，师承古典而落实生活，成熟之艺术已臻虚实相生，动静皆宜之境地。他的诗直探万物之本质，穷究生命
之意义，且对中国文字锤炼有功。”

　洛夫的诗善于从现象中发掘超现实的诗情，多探索生死之谜，意象奇特，表现手法繁复多变，诗意晦涩朦胧，耐人回味。

[和平岛]

Lorna Crozier:


BIOGRAPHY

Lorna Crozier was born in 1948 in Swift Current, Saskatchewan. She attended the Universities of Saskatchewan, Regina and Alberta, where she received an M.A. in 1980. For several years she taught high school English and worked as a guidance counsellor. She has taught creative writing at the Banff School of Fine Arts, the Saskatchewan Summer School of the Arts, the Red Deer College Writers on Campus Program, U.B.C.’s Booming Ground, the Sage Hill Experience, and the Sechelt Summer Writing Festival. She has also worked as a reviewer for CBC radio and as an arts show host. In 1980 she was the writer-in-residence at the Cypress Hills Community College in Swift Current; in 1983, at the Regina Public Library; and in 1989 at the University of Toronto. She has held short-term residencies at the Universities of Toronto and Lethbridge and at Douglas College, and has been the recipient of Canada Council Arts grants. She taught at the University of Saskatchewan from 1986-1991 and presently teaches as a Distinguished Professor in the Department of Writing at the University of Victoria. In 2003 she was appointed Chair of that Department. The University of Regina awarded her an Honourary Doctorate in 2004 for her contribution to Canadian literature, in May, 2005 she gave a command performance at the Saskatchewan Lieutenant Governor’s Gala ConcertforQueenElizabethI.

PUBLICATIONS

Her books include: Inside Is the Sky, (Thistledown Press, 1976); Crow's Black Joy, (NeWest Press, 1979); Humans and Other Beasts,(Turnstone Press, 1981); No Longer Two People, (co-written with Patrick Lane, Turnstone Press, 1981); The Weather, (Coteau Books, 1983); The Garden Going On Without Us,(McClelland & Stewart, 1985, reprinted 1986, 198, 1990, 1993); Angels of Flesh, Angels of Silence (McClelland and Stewart, 1988, rpt. 1989, 1993), Inventing the Hawk (McClelland and Stewart, 1992, rpt. 1993), and Everything Arrives at the Light, (McClelland and Stewart, 1995, A Saving Grace (McClelland and Stewart,1997. What the Living Won’t Let Go, (McCelland and Stewart, 1999), The Apocrypha of Light, (McClelland and Stewart, 2002), Bones in Their Wings (Hagios, 2003), andWhetstone (McClelland and Stewart, 2005). In the spring of 2005, Before the First Word, a special selection of her poems with a critic’s essay and an afterword by the poet was published by Wilfred-Laurier Press. In addition to poetry she has written nonfiction essays and has edited two collections: Desire in Seven Voices (Douglas & McIntyre, 2002) and Addiction: Notes from the Belly of the Beast (ed. with Patrick Lane, Greystone Books, 2001). She and Patrick Lane also edited two anthologies of young Canadian poets, Breathing Fire and Breathing Fire 2 (Harbour, 1999; Nightwood, 2004).

AWARDS

In June, 2004, Crozier was awarded an honourary Doctor of Laws from the University of Regina for her contributions to Canadian literature. In November of the same year she received a Distinguished Professor Award from the University of Victoria.

In 2000,What the Living Won’t Let Go received the Dorothy Livesay Award for the best book of poetry by a British Columbia writer, and in 1996 Everything Arrives at the Light received the Pat Lowther Award for the best book of poetry by a Canadian woman.

Inventing the Hawk received the Governor-General's Award for the best book of Canadian poetry for 1992, the Pat Lowther Award for the Best Book of Poety by a Canadian Woman, and the Canadian Authors' Award for the best book of Canadian poetry. The Weather, Crow's Black Joy and Angels of Flesh, Angels of Silence were winners of Saskatchewan poetry awards, and The Garden Going On Without Us and Angels of Flesh, Angels of Silence were both nominated for the Governor General's Award. She received first prize in poetry in the 1987 CBC National Writing Competition. With Patrick Lane she was the writer of the radio script Chile which won the National Radio Award's Best Canadian Public Radio Program for 1987 and which received an honourable mention in the international Gabriel Awards.

INTERNATIONAL AND NATIONAL RECOGNITION

As well as reading at Canada’s literary festivals, from Toronto to Moose Jaw to Vancouver, Crozier has been an invited guest at literary festivals across Canada and in South Africa, England, France, Italy, Chile, the former Yugoslavia, Malaysia, Australia, and the United States, including at Princeton University. Her poetry has been translated into several languages including Mandarin Chinese, Spanish, Serbian, Croatian, Italian and French. For the last thirty years her work has been published in numerous magazines such as Saturday Night, The Malahat Review, Southern Review, Prairie Schooner and Descant and in several anthologies that are used as university texts in Canadian literature classes, most recently The Oxford Anthology of Canadian Literature in English (ed. Bennet, Brown and Cooke, Oxford University Press, 2002),Twentieth Century Poetry and Poetics (ed. Geddes, Oxford University Press, 1999) and 15 X 3 (ed. Geddes, Oxford University Press, 2000).

EXCERPTS FROM REVIEWS

Margaret Laurence described her as "a poet to be grateful for." Ed Dyck in NeWest Review wrote, "...she is a passionate writer...a ruthless craftswoman"; Marya Fiamengo in Canadian Literature called attention to her "...felicity of language, depth of feeling, and a compassionate compelling vision...."

Catherine Hunter in Prairie Fire wrote, " The Garden Going On Without Us touches on a myriad of themes and moods, a series of tight bright knots tied together by the poet's double gift: keen insight into the human heart coupled with a love of language for its own sake. This is a real reader's book, unique in its accomplishment of being both profound and accessible." Of Angels of Flesh, Angels of Silence, Diana Relke wrote, "Lorna Crozier is one of the best poets writing in Saskatchewan today. The precision of her images places her within the local tradition, while her concern with the articulation of female experience--especially sexual experience--identifies her with a wider Canadian tradition that includes the work of Dorothy Livesay and Margaret Atwood. As suggested by the prizes Crozier received for several of the poems contained in it, Angels of Flesh, Angels of Silence is a significant contribution to that tradition."

Of Inventing the Hawk critics have written:
"Breathtakingly down-to-earth and reassuringly lyrical, new poems by Lorna Crozier are always a reason for rejoicing. At the heart of this volume is an elegy for her father, but the overall subject matter--from "Getting Pregnant" to "Plato's Angel"--has the usual Crozierian sweep."
--Editor's Choice, The Globe and Mail

"Books like this become people. And can change a life."
--Doug Beardsley, The Victoria Times Colonist

"Stumbling onto a Lorna Crozier poem is like running into a tropical rainforest on the Prairies."
--John Oughton Books in Canada

"Inventing anything requires imagination, growth and tenacity. All three are part and parcel of Lorna Crozier's most recent literary invention--140 pages of poetry that sweep readers from flights of fancey to down-to-earth reality. Inventing the Hawk contains Crozier's best work."
--Donalee Moulton, CM

"The tradition of writing lyric poetry is very much present in Lorna Crozier's Inventing the Hawk, and is revitalized. Many of her poems have the oracular quality of Frederico Garcia Lorca or, in her angel poems, of another Spanish poet, Raphael Alberti. Marry this quality with a gritty prairie realism, and you have a new and vivid poetry of astonishing freshness."
--Mary di Michele The Montreal Gazette

From reviews of Everything Arrives at the Light)

"Crozier has a wonderful narrative voice and many of her poems feel like whole stories told in a few breaths. All of which makes this book [Everything Arrives at the Light] hard to put down."
--Stephen Osborne, Geist


"This new book is full of hard knowledge; the poems are suffused with an awareness of dissolution and death, and of the irretrievably lost past. One comes away harrowed, for the psychic territory of many of the poems is Michael Ondaatje's hour in which 'we move small/in the last possibilities of the light.' And one comes away exalted, for despite darkness, even through darkness, Crozier glimpses the mystery of light at the heart of being...But go get the book and read it yourself. You'll be harrowed--and exalted."
--Mary Dalton, Books in Canada`

"Lorna Crozier's status as a poet in Canada now rivals Al Purdy's in the '60's and '70's. She is a favourite of both her fellow writers and readers-at-large, who hear her regularly on Morningside and often search out her books through several printings."
--Gary Geddes, B.C.Bookworld


"These are unflinching poems, full of love and pain, in which Crozier is able to sustain the strength forged in loss. How sad and telling it is that it is human sorrow that brings about such human beauty."
--Rhea Tregebov, Quill and Quire


From reviews for A Saving Grace

“Lorna Crozier, one of the most original poets alive....[T]his civilization is figured forth in Lorna Crozier’s wonderful eloquence and wit, and by the warmth and fullness of her female sensibility, sharply perceptive yet inclusive and accepting.”
--Kildaire Dobbs, Books in Canada

“She successfully tugs at our hearts and makes us go in search of something greater. At the heart of Crozier’s poetry, there is a recognition of gift, the magic that sings in all of us.”
--Marty Gervais, The Windsor Star

From reviews for What the Living Won’t Let Go

“On the cover of Crozier’s book is...a worn, ivory lace nightgown hanging in an attic, bathed in a warm gold light reminiscent of sunrise--or sunset. The image foreshadows what’s to come: a celebration of life’s treasures and its losses; each radiant moment preserved in a language that shimmers between light and shadow. These are the poems of a woman who looks aging squarely in the eye and doesn’t flinch. From the first poem, “Names of Loss and Beauty,” there is a sense of the sweet anguish of gaining wisdom at the very moment we know we are growing old.
...she is superbly skilled, evoking dream and touching the heart surely and swiftly.”
--Kate Braid, The Vancouver Sun, Apr. 24, 1999



“As always, woven into the narrative of poems, which seem concerned with capturing the fragile beauty of everyday things, are subtley rendered insights. In the final poem, ‘Wildflowers,’ Crozier defines her subject with her typical eloquence; she writes of ‘the heart’s strange fondness for what is lost.’”
--Cassandra Tilson, In 2 Print, Summer, 2000

“Nobody writes about . and death quite like Lorna Crozier....[She] moves from colloquialism to grand idea with shocking ease. What the Living Won’t Let Go maintains her poetic arc towards a passionate contemplation of detail and belief.”
--Tanis MacDonald, Prairie Fire, Vol.21, No. 1, Spring, 2000


CONTRIBUTIONS TO THE WRITING COMMUNITY

Crozier began teaching writing workshops and mentoring students at the Saskatchewan Summer School of the Arts twenty-five years ago. In addition to working with young writers in the Department of Writing at the University of Victory, she has taught young and emerging writers at various summer workshops including Sechelt, the Banff School of Fine Arts, and UBC’s Booming Ground. She has consulted, edited and encouraged in her role as writer-in-residence at the Regina Public Library, the Cypress Hills Community College and the University of Toronto. For several years she worked with high school students on WEIR (writers in electronic residence). She has recommended countless writers for grants, awards and graduate school, and has written numerous back-cover blurbs for books of poetry that she feels need support and encouragement. She has also written numerous book reviews for CBC radio, The Globe and Mail and various literary magazines, drawing the public’s attention to Canadian writing.

In 1995, with Patrick Lane, she edited an anthology of poetry for young writers under thirty. Called Breathing Fire and published by Harbour Press, the book sold thousands of copies and introduced the thirty-one new Canadian poets from across the country to the reading public. For most of those included, this was their first major publication, but shortly after, many published their first books and garnered major awards, including Karen Solie (just nominated for the Griffen), Stephanie Boster (winner of the Governor-General’s Award), and Suzanne Buffam (winner of the CBC national writing competition). All of them have credited this anthology with giving them a boost of confidence and a kick-start to their writing careers. The second edition, Breathing Fire 2, will be published in the spring of 2004. Like the last anthology, this one will expose over thirty new writers to the Canadian literary world. In 1999 she introduced three “protégés” in Breaking the Surface, an anthology in which five established writers edited the work of these younger writers and wrote a biographical sketch and an analysis of their poetry.

Crozier has been on the executive of the Saskatchewan Writers’ Guild and The League of Canadian Poets. She was twice poet laureate for Peter Gzowski’s golf tournaments for literacy, and she has given benefit readings for such organizations as the SPCA, the BC Land Conservancy, the Dominion Brook Garden Society, and PEERS, a group committed to helping prostitutes get off the street. She has read and given talks on the value of poetry in high schools, libraries and universities across the country, able to relate her topic to any age group. Because of the accessibility of her poetry, her passion and her belief in the power of words, she has been a frequent guest on CBC radio, their “poet laureate,” recently requested to write two poems to read on air: one honouring Pierre Elliott Trudeau upon his death and another praising the Canadian Women’s Hockey Team on the eve of their battle at the Olympics. As poet and friend, she was also asked to speak of Peter Gzowski on “This Morning” with Shelagh Rogers on the day after his death. Wherever she has read she has raised the profile and reputation of poetry.

[[我还没有昵称]]

Lorna Crozier:


BIOGRAPHY

Lorna Crozier was born in 1948 in Swift Current, Saskatchewan. She attended the Universities of Saskatchewan, Regina and Alberta, where she received an M.A. in 1980. For several years she taught high school English and worked as a guidance counsellor. She has taught creative writing at the Banff School of Fine Arts, the Saskatchewan Summer School of the Arts, the Red Deer College Writers on Campus Program, U.B.C.’s Booming Ground, the Sage Hill Experience, and the Sechelt Summer Writing Festival. She has also worked as a reviewer for CBC radio and as an arts show host. In 1980 she was the writer-in-residence at the Cypress Hills Community College in Swift Current; in 1983, at the Regina Public Library; and in 1989 at the University of Toronto. She has held short-term residencies at the Universities of Toronto and Lethbridge and at Douglas College, and has been the recipient of Canada Council Arts grants. She taught at the University of Saskatchewan from 1986-1991 and presently teaches as a Distinguished Professor in the Department of Writing at the University of Victoria. In 2003 she was appointed Chair of that Department. The University of Regina awarded her an Honourary Doctorate in 2004 for her contribution to Canadian literature, in May, 2005 she gave a command performance at the Saskatchewan Lieutenant Governor’s Gala ConcertforQueenElizabethI.

PUBLICATIONS

Her books include: Inside Is the Sky, (Thistledown Press, 1976); Crow's Black Joy, (NeWest Press, 1979); Humans and Other Beasts,(Turnstone Press, 1981); No Longer Two People, (co-written with Patrick Lane, Turnstone Press, 1981); The Weather, (Coteau Books, 1983); The Garden Going On Without Us,(McClelland & Stewart, 1985, reprinted 1986, 198, 1990, 1993); Angels of Flesh, Angels of Silence (McClelland and Stewart, 1988, rpt. 1989, 1993), Inventing the Hawk (McClelland and Stewart, 1992, rpt. 1993), and Everything Arrives at the Light, (McClelland and Stewart, 1995, A Saving Grace (McClelland and Stewart,1997. What the Living Won’t Let Go, (McCelland and Stewart, 1999), The Apocrypha of Light, (McClelland and Stewart, 2002), Bones in Their Wings (Hagios, 2003), andWhetstone (McClelland and Stewart, 2005). In the spring of 2005, Before the First Word, a special selection of her poems with a critic’s essay and an afterword by the poet was published by Wilfred-Laurier Press. In addition to poetry she has written nonfiction essays and has edited two collections: Desire in Seven Voices (Douglas & McIntyre, 2002) and Addiction: Notes from the Belly of the Beast (ed. with Patrick Lane, Greystone Books, 2001). She and Patrick Lane also edited two anthologies of young Canadian poets, Breathing Fire and Breathing Fire 2 (Harbour, 1999; Nightwood, 2004).

AWARDS

In June, 2004, Crozier was awarded an honourary Doctor of Laws from the University of Regina for her contributions to Canadian literature. In November of the same year she received a Distinguished Professor Award from the University of Victoria.

In 2000,What the Living Won’t Let Go received the Dorothy Livesay Award for the best book of poetry by a British Columbia writer, and in 1996 Everything Arrives at the Light received the Pat Lowther Award for the best book of poetry by a Canadian woman.

Inventing the Hawk received the Governor-General's Award for the best book of Canadian poetry for 1992, the Pat Lowther Award for the Best Book of Poety by a Canadian Woman, and the Canadian Authors' Award for the best book of Canadian poetry. The Weather, Crow's Black Joy and Angels of Flesh, Angels of Silence were winners of Saskatchewan poetry awards, and The Garden Going On Without Us and Angels of Flesh, Angels of Silence were both nominated for the Governor General's Award. She received first prize in poetry in the 1987 CBC National Writing Competition. With Patrick Lane she was the writer of the radio script Chile which won the National Radio Award's Best Canadian Public Radio Program for 1987 and which received an honourable mention in the international Gabriel Awards.

INTERNATIONAL AND NATIONAL RECOGNITION

As well as reading at Canada’s literary festivals, from Toronto to Moose Jaw to Vancouver, Crozier has been an invited guest at literary festivals across Canada and in South Africa, England, France, Italy, Chile, the former Yugoslavia, Malaysia, Australia, and the United States, including at Princeton University. Her poetry has been translated into several languages including Mandarin Chinese, Spanish, Serbian, Croatian, Italian and French. For the last thirty years her work has been published in numerous magazines such as Saturday Night, The Malahat Review, Southern Review, Prairie Schooner and Descant and in several anthologies that are used as university texts in Canadian literature classes, most recently The Oxford Anthology of Canadian Literature in English (ed. Bennet, Brown and Cooke, Oxford University Press, 2002),Twentieth Century Poetry and Poetics (ed. Geddes, Oxford University Press, 1999) and 15 X 3 (ed. Geddes, Oxford University Press, 2000).

EXCERPTS FROM REVIEWS

Margaret Laurence described her as "a poet to be grateful for." Ed Dyck in NeWest Review wrote, "...she is a passionate writer...a ruthless craftswoman"; Marya Fiamengo in Canadian Literature called attention to her "...felicity of language, depth of feeling, and a compassionate compelling vision...."

Catherine Hunter in Prairie Fire wrote, " The Garden Going On Without Us touches on a myriad of themes and moods, a series of tight bright knots tied together by the poet's double gift: keen insight into the human heart coupled with a love of language for its own sake. This is a real reader's book, unique in its accomplishment of being both profound and accessible." Of Angels of Flesh, Angels of Silence, Diana Relke wrote, "Lorna Crozier is one of the best poets writing in Saskatchewan today. The precision of her images places her within the local tradition, while her concern with the articulation of female experience--especially sexual experience--identifies her with a wider Canadian tradition that includes the work of Dorothy Livesay and Margaret Atwood. As suggested by the prizes Crozier received for several of the poems contained in it, Angels of Flesh, Angels of Silence is a significant contribution to that tradition."

Of Inventing the Hawk critics have written:
"Breathtakingly down-to-earth and reassuringly lyrical, new poems by Lorna Crozier are always a reason for rejoicing. At the heart of this volume is an elegy for her father, but the overall subject matter--from "Getting Pregnant" to "Plato's Angel"--has the usual Crozierian sweep."
--Editor's Choice, The Globe and Mail

"Books like this become people. And can change a life."
--Doug Beardsley, The Victoria Times Colonist

"Stumbling onto a Lorna Crozier poem is like running into a tropical rainforest on the Prairies."
--John Oughton Books in Canada

"Inventing anything requires imagination, growth and tenacity. All three are part and parcel of Lorna Crozier's most recent literary invention--140 pages of poetry that sweep readers from flights of fancey to down-to-earth reality. Inventing the Hawk contains Crozier's best work."
--Donalee Moulton, CM

"The tradition of writing lyric poetry is very much present in Lorna Crozier's Inventing the Hawk, and is revitalized. Many of her poems have the oracular quality of Frederico Garcia Lorca or, in her angel poems, of another Spanish poet, Raphael Alberti. Marry this quality with a gritty prairie realism, and you have a new and vivid poetry of astonishing freshness."
--Mary di Michele The Montreal Gazette

From reviews of Everything Arrives at the Light)

"Crozier has a wonderful narrative voice and many of her poems feel like whole stories told in a few breaths. All of which makes this book [Everything Arrives at the Light] hard to put down."
--Stephen Osborne, Geist


"This new book is full of hard knowledge; the poems are suffused with an awareness of dissolution and death, and of the irretrievably lost past. One comes away harrowed, for the psychic territory of many of the poems is Michael Ondaatje's hour in which 'we move small/in the last possibilities of the light.' And one comes away exalted, for despite darkness, even through darkness, Crozier glimpses the mystery of light at the heart of being...But go get the book and read it yourself. You'll be harrowed--and exalted."
--Mary Dalton, Books in Canada`

"Lorna Crozier's status as a poet in Canada now rivals Al Purdy's in the '60's and '70's. She is a favourite of both her fellow writers and readers-at-large, who hear her regularly on Morningside and often search out her books through several printings."
--Gary Geddes, B.C.Bookworld


"These are unflinching poems, full of love and pain, in which Crozier is able to sustain the strength forged in loss. How sad and telling it is that it is human sorrow that brings about such human beauty."
--Rhea Tregebov, Quill and Quire


From reviews for A Saving Grace

“Lorna Crozier, one of the most original poets alive....[T]his civilization is figured forth in Lorna Crozier’s wonderful eloquence and wit, and by the warmth and fullness of her female sensibility, sharply perceptive yet inclusive and accepting.”
--Kildaire Dobbs, Books in Canada

“She successfully tugs at our hearts and makes us go in search of something greater. At the heart of Crozier’s poetry, there is a recognition of gift, the magic that sings in all of us.”
--Marty Gervais, The Windsor Star

From reviews for What the Living Won’t Let Go

“On the cover of Crozier’s book is...a worn, ivory lace nightgown hanging in an attic, bathed in a warm gold light reminiscent of sunrise--or sunset. The image foreshadows what’s to come: a celebration of life’s treasures and its losses; each radiant moment preserved in a language that shimmers between light and shadow. These are the poems of a woman who looks aging squarely in the eye and doesn’t flinch. From the first poem, “Names of Loss and Beauty,” there is a sense of the sweet anguish of gaining wisdom at the very moment we know we are growing old.
...she is superbly skilled, evoking dream and touching the heart surely and swiftly.”
--Kate Braid, The Vancouver Sun, Apr. 24, 1999



“As always, woven into the narrative of poems, which seem concerned with capturing the fragile beauty of everyday things, are subtley rendered insights. In the final poem, ‘Wildflowers,’ Crozier defines her subject with her typical eloquence; she writes of ‘the heart’s strange fondness for what is lost.’”
--Cassandra Tilson, In 2 Print, Summer, 2000

“Nobody writes about . and death quite like Lorna Crozier....[She] moves from colloquialism to grand idea with shocking ease. What the Living Won’t Let Go maintains her poetic arc towards a passionate contemplation of detail and belief.”
--Tanis MacDonald, Prairie Fire, Vol.21, No. 1, Spring, 2000


CONTRIBUTIONS TO THE WRITING COMMUNITY

Crozier began teaching writing workshops and mentoring students at the Saskatchewan Summer School of the Arts twenty-five years ago. In addition to working with young writers in the Department of Writing at the University of Victory, she has taught young and emerging writers at various summer workshops including Sechelt, the Banff School of Fine Arts, and UBC’s Booming Ground. She has consulted, edited and encouraged in her role as writer-in-residence at the Regina Public Library, the Cypress Hills Community College and the University of Toronto. For several years she worked with high school students on WEIR (writers in electronic residence). She has recommended countless writers for grants, awards and graduate school, and has written numerous back-cover blurbs for books of poetry that she feels need support and encouragement. She has also written numerous book reviews for CBC radio, The Globe and Mail and various literary magazines, drawing the public’s attention to Canadian writing.

In 1995, with Patrick Lane, she edited an anthology of poetry for young writers under thirty. Called Breathing Fire and published by Harbour Press, the book sold thousands of copies and introduced the thirty-one new Canadian poets from across the country to the reading public. For most of those included, this was their first major publication, but shortly after, many published their first books and garnered major awards, including Karen Solie (just nominated for the Griffen), Stephanie Boster (winner of the Governor-General’s Award), and Suzanne Buffam (winner of the CBC national writing competition). All of them have credited this anthology with giving them a boost of confidence and a kick-start to their writing careers. The second edition, Breathing Fire 2, will be published in the spring of 2004. Like the last anthology, this one will expose over thirty new writers to the Canadian literary world. In 1999 she introduced three “protégés” in Breaking the Surface, an anthology in which five established writers edited the work of these younger writers and wrote a biographical sketch and an analysis of their poetry.

Crozier has been on the executive of the Saskatchewan Writers’ Guild and The League of Canadian Poets. She was twice poet laureate for Peter Gzowski’s golf tournaments for literacy, and she has given benefit readings for such organizations as the SPCA, the BC Land Conservancy, the Dominion Brook Garden Society, and PEERS, a group committed to helping prostitutes get off the street. She has read and given talks on the value of poetry in high schools, libraries and universities across the country, able to relate her topic to any age group. Because of the accessibility of her poetry, her passion and her belief in the power of words, she has been a frequent guest on CBC radio, their “poet laureate,” recently requested to write two poems to read on air: one honouring Pierre Elliott Trudeau upon his death and another praising the Canadian Women’s Hockey Team on the eve of their battle at the Olympics. As poet and friend, she was also asked to speak of Peter Gzowski on “This Morning” with Shelagh Rogers on the day after his death. Wherever she has read she has raised the profile and reputation of poetry.

[和平岛]

Lorna's Poems selected from her newest book, Whetstone, published by McClelland & Stewart, 2005.



BLIZZARD


Walking into wind, I lean into my mother’s muskrat coat;
around the cuffs her wristbones have worn away the fur.

If we stood still we’d disappear. There’s no up or down,
no houses with their windows lit. The only noise is wind

and what’s inside us. When we get home my father
will be there or not. No one ever looks for us.

I could lie down and stay right here where snow is all
that happens, and silence isn’t loneliness just cold

not talking. My mother tugs at me and won’t let go.
Then stops to find her bearings. In our hoods of stars

we don’t know if anyone will understand
the tongue we speak, so far we are from home.




IT IS NIGHT


Wind turns back the sheets of the field.
What needs to sleep, sleeps there.
What needs to rest.

The door has fallen from the moon.
It floats in the slough, all knob and hinges.

Now the moon’s so open
anything could walk right through.

Only the fox is traveling.
One minute he’s a cat, the next a coyote.

Enough light to see by
yet my mouth lies in darkness.
What needs to sleep, sleeps there.
What needs to rest.

Outside my mind, the wind is reckoning.
Always there is something
to figure out.




THE END OF THE CENTURY


Under the bridge the dead are gathering.
What happened to the ferryman,
his bag of coins, his pity? In all this traffic
how can they cross these girders of steel
and starlight? One of them hears a creaking.
It is you in your father’s rowboat,
newly painted. Your lunch beside you
on the seat, in the bow that singer
who died young. He has spelled you
on this journey but now he begins
in Mandarin the version of Red River
he learned in exile in the fields
far from Beijing. Under the bridge,
hearing him, the dead, too, start singing
We will miss your bright eyes
and sweet smile, in at least
a dozen different tongues.

SAND FROM THE GOBI DESERT


Sand from the Gobi Desert blows across Saskatchewan,
becomes the irritation in an eye. So say the scientists who
separate the smallest pollen from its wings of grit,
identify the origin and name. You have to wonder where
the dust from these fields ends up: Zimbabwe, Fiji,
on the row of shoes outside a mosque in Istanbul,
on the green rise of a belly in the Jade Museum in Angkor Vat?
And what of our breath, grey hair freed from a comb, the torn threads of shadows?
Just now the salt from a woman’s tears settles finely its invisible kiss
on my upper lip. She’s been crying in Paris on the street that means
Middle of the Day though it’s night there, and she doesn’t want the day to come.
Would it comfort her to know another, half way round the world, can taste her grief?
Another would send her, if she could, a few of the rare flakes of snow
falling here before the sunrise, snow that barely fleeces the brown back of what’s
too dry to be a field of wheat, and winter’s almost passed. Snow on her lashes.
What of apple blossoms, my father’s ashes, small scraps of sadness
that slip out of reach? Is it comforting to know the wind
never travels empty? A sparrow in the Alhambra’s arabesques
rides the laughter spilling from our kitchen, the smell of garlic
makes the dust delicious where and where it falls.

SHADOW


To lie on one side of a tree
then another, over rough or smooth.

To feel cool along one’s whole body
lengthening without intent,
nothing getting in the way.

To give up on meaning.
To never wear out or mar.

To move by increments like
a beautiful equation, like the moon
ripening above the golden city.

To be doppelganger,
the feathered underside of wings,
the part of cumulous that slides
thin promises of rain across the wheat.

To disappear. To be blue
simply because snow has fallen
and it’s the blue hour of the day.

[[我还没有昵称]]

Lorna's Poems selected from her newest book, Whetstone, published by McClelland & Stewart, 2005.



BLIZZARD


Walking into wind, I lean into my mother’s muskrat coat;
around the cuffs her wristbones have worn away the fur.

If we stood still we’d disappear. There’s no up or down,
no houses with their windows lit. The only noise is wind

and what’s inside us. When we get home my father
will be there or not. No one ever looks for us.

I could lie down and stay right here where snow is all
that happens, and silence isn’t loneliness just cold

not talking. My mother tugs at me and won’t let go.
Then stops to find her bearings. In our hoods of stars

we don’t know if anyone will understand
the tongue we speak, so far we are from home.




IT IS NIGHT


Wind turns back the sheets of the field.
What needs to sleep, sleeps there.
What needs to rest.

The door has fallen from the moon.
It floats in the slough, all knob and hinges.

Now the moon’s so open
anything could walk right through.

Only the fox is traveling.
One minute he’s a cat, the next a coyote.

Enough light to see by
yet my mouth lies in darkness.
What needs to sleep, sleeps there.
What needs to rest.

Outside my mind, the wind is reckoning.
Always there is something
to figure out.




THE END OF THE CENTURY


Under the bridge the dead are gathering.
What happened to the ferryman,
his bag of coins, his pity? In all this traffic
how can they cross these girders of steel
and starlight? One of them hears a creaking.
It is you in your father’s rowboat,
newly painted. Your lunch beside you
on the seat, in the bow that singer
who died young. He has spelled you
on this journey but now he begins
in Mandarin the version of Red River
he learned in exile in the fields
far from Beijing. Under the bridge,
hearing him, the dead, too, start singing
We will miss your bright eyes
and sweet smile, in at least
a dozen different tongues.

SAND FROM THE GOBI DESERT


Sand from the Gobi Desert blows across Saskatchewan,
becomes the irritation in an eye. So say the scientists who
separate the smallest pollen from its wings of grit,
identify the origin and name. You have to wonder where
the dust from these fields ends up: Zimbabwe, Fiji,
on the row of shoes outside a mosque in Istanbul,
on the green rise of a belly in the Jade Museum in Angkor Vat?
And what of our breath, grey hair freed from a comb, the torn threads of shadows?
Just now the salt from a woman’s tears settles finely its invisible kiss
on my upper lip. She’s been crying in Paris on the street that means
Middle of the Day though it’s night there, and she doesn’t want the day to come.
Would it comfort her to know another, half way round the world, can taste her grief?
Another would send her, if she could, a few of the rare flakes of snow
falling here before the sunrise, snow that barely fleeces the brown back of what’s
too dry to be a field of wheat, and winter’s almost passed. Snow on her lashes.
What of apple blossoms, my father’s ashes, small scraps of sadness
that slip out of reach? Is it comforting to know the wind
never travels empty? A sparrow in the Alhambra’s arabesques
rides the laughter spilling from our kitchen, the smell of garlic
makes the dust delicious where and where it falls.

SHADOW


To lie on one side of a tree
then another, over rough or smooth.

To feel cool along one’s whole body
lengthening without intent,
nothing getting in the way.

To give up on meaning.
To never wear out or mar.

To move by increments like
a beautiful equation, like the moon
ripening above the golden city.

To be doppelganger,
the feathered underside of wings,
the part of cumulous that slides
thin promises of rain across the wheat.

To disappear. To be blue
simply because snow has fallen
and it’s the blue hour of the day.

[和平岛]

诗人非马：
本名马为义，英文名字WilliamMarr，一九三六年生于台湾台中市，在原籍广东潮阳度过童年。台北工专毕业，美国马开大学机械硕士，威斯康辛大学核工博士。在美国阿冈国家研究所从事能源研究工作多年，现已退休，专心写作及绘画。六十年代开始写诗。曾任美国伊利诺州诗人协会会长。为芝加哥诗人俱乐部及肯塔基诗人协会会员；台湾笠诗社及纽约一行诗社同人；北京《新诗歌》社副社长；新大陆诗刊、美华文化人报、美国华文文艺界协会及芝加哥华文写作协会顾问；北美中华艺术家协会创会理事等。


William Marr (Fei Ma) is the author of fourteen books of poetry (all in his native Chinese language except Autumn Window which is in English) and several books of translations, including the bilingual anthology Let the Feast Begin—My Favorite English Poems. He has also edited and published several anthologies of contemporary Taiwanese and Chinese poetry. A longtime resident of Chicago, he served from 1993 to 1995 as the president of the Illinois State Poetry Society.

[[我还没有昵称]]

诗人非马：
本名马为义，英文名字WilliamMarr，一九三六年生于台湾台中市，在原籍广东潮阳度过童年。台北工专毕业，美国马开大学机械硕士，威斯康辛大学核工博士。在美国阿冈国家研究所从事能源研究工作多年，现已退休，专心写作及绘画。六十年代开始写诗。曾任美国伊利诺州诗人协会会长。为芝加哥诗人俱乐部及肯塔基诗人协会会员；台湾笠诗社及纽约一行诗社同人；北京《新诗歌》社副社长；新大陆诗刊、美华文化人报、美国华文文艺界协会及芝加哥华文写作协会顾问；北美中华艺术家协会创会理事等。


William Marr (Fei Ma) is the author of fourteen books of poetry (all in his native Chinese language except Autumn Window which is in English) and several books of translations, including the bilingual anthology Let the Feast Begin—My Favorite English Poems. He has also edited and published several anthologies of contemporary Taiwanese and Chinese poetry. A longtime resident of Chicago, he served from 1993 to 1995 as the president of the Illinois State Poetry Society.