The Drunken, Lovely Bird (Goose Lane Editions Poetry Books)

( Sue Sinclair writes in a lyrical tradition that subvert...)

Sue Sinclair writes in a lyrical tradition that subverts the stereotype of "Canadian women's" poetry while still playing with some, if not all, of the same poetic vocabulary. The Drunken Lovely Bird, her accomplished third book of poetry, confirms her reputation as one of Canada's most original young poets. A keen observer of the material world, from the Newfoundland coast to the streets of Toronto, she has a rare gift for epiphany, for exposing the numinous in the commonplace. Her poems speak from that precise place where our perception of the world and our capacity for language meet and embrace, where our sense of experience goes to get sharpened and refreshed. That experience might involve the inner lives of clouds, the flourishing and passing of a tulip, the evocative scent of wolf willow, or the intricate arts of Bach and Virginia Woolf. Sinclair's poems are deft, musical, and quick in the moment, alive to the sensuous surface and the meditative depth, their antennae fully extended. They focus brilliantly on lively physical details, yet they resonate with the subtle emotions that whisper at the edges of the everyday world. Meditative and beautifully crafted, Sinclair's poems are simultaneously surprising and inevitable, inviting readers to gaze more deeply into their surroundings and to rejoice in both the light and the dark.

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The Drunken, Lovely Bird (Goose Lane Editions Poetry Books) by Sue Sinclair (2004-07-29)

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Mortal Arguments

(p>Mortal Arguments is Sue Sinclair's second poetry collec...)

p>Mortal Arguments is Sue Sinclair's second poetry collection. In it, she continues her extraordinary phenomenological investigation of lived experience, addressing with increasing urgency issues of profound philosophical and political importance such as consumerism, privilege, and our ability to respond to the suffering of others. Her voice combines great metaphorical brilliance with the depth one expects of a much older writer. Her poems will remind readers by turns of Rilke and Heine: urgent, sorrowing, ecstatic. This is an important book by one of Canada's finest young poets. Roses Not because it is sufficient, but because we subsist on light, and what doesn't cry out to be noticed? There's something here you might recognize, but you're not sure; still, you're willing to risk it: the loss of everything, seen and unseen, the before and the after. It doesn't depend on you but you move toward it. Because as long as there's a moment here or there, why not arrange a few roses in a jar, give thought to their listlessness, how they gather the room about them yet think nothing of it, how each thorn persists, how they have made a purpose of holding still? Then you remember the necessary and sufficient. This isn't it, but you don't know where else to begin.

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