The poems in Wellwater, Karen Solie’s sixth collection, explore the intersection of cultural, economic, and personal ideas of “value,” addressing housing, economic and environmental crisis, and aging and its incumbent losses. In an era of accelerating inequality, places many of us thought of as home have become unaffordable. In “Basement Suite,” the faux-utopian economy of Airbnb suggests people with property “share” it with us and, presumably, we should be grateful. In “Parables of the Rat” the speaker feels affinity with scavengers while also wanting the rats gone.
Having grown up in Saskatchewan on a small family farm, Solie sees the economic and environmental crises as inseparable. Climate change has made small farming increasingly untenable, allowing overbearing corporate control of food production. But hope, Solie argues, is as necessary to addressing the crises of our time as bearing witness, in poems that celebrate wonder and persistence in the non-human world. Tamarack forests in Newfoundland that grow inches over hundreds of years, the suddenly thriving pronghorn antelope, or a new, unidentified and ineradicable climbing vine, all hint at renewal, and a way to move forward.
The poems in Wellwater, Karen Solie’s sixth collection, explore the intersection of cultural, economic, and personal ideas of “value,” addressing housing, economic and environmental crisis, and aging and its incumbent losses. In an era of accelerating inequality, places many of us thought of as home have become unaffordable. In “Basement Suite,” the faux-utopian economy of Airbnb suggests people with property “share” it with us and, presumably, we should be grateful. In “Parables of the Rat” the speaker feels affinity with scavengers while also wanting the rats gone.
Having grown up in Saskatchewan on a small family farm, Solie sees the economic and environmental crises as inseparable. Climate change has made small farming increasingly untenable, allowing overbearing corporate control of food production. But hope, Solie argues, is as necessary to addressing the crises of our time as bearing witness, in poems that celebrate wonder and persistence in the non-human world. Tamarack forests in Newfoundland that grow inches over hundreds of years, the suddenly thriving pronghorn antelope, or a new, unidentified and ineradicable climbing vine, all hint at renewal, and a way to move forward.
| Published By | House of Anansi Press Inc — Apr 1, 2025 |
| Specifications | 112 pages | 5.75 in x 8 in |
| Keywords | Caiplie Caves; Griffin Poetry Prize; T.S. Elliot Prize for Poetry; Pat Lowther Memorial Award; Trillium Award; Dorothy Livesay Prize; Lyric Poetry; Career Poets; Lifetime Poets; Poetry; Capitalism; Economy; Environment; Climate Anxiety; Corporate Greed; The University of St Andrews; Guggenheim Fellowship; Women Auhtors; Women Poets; Critical Poetry; |
| Written By |
KAREN SOLIE grew up in southwest Saskatchewan. Her five previous collections of poetry–Short Haul Engine, Modern and Normal, Pigeon, The Road In Is Not the Same Road Out, and The Caiplie Caves–have won the Dorothy Livesay Award, Pat Lowther Award, Trillium Poetry Prize, and the Griffin Prize, and been shortlisted for the Derek Walcott Prize and the T.S. Eliot Prize. A 2023 Guggenheim Fellow, she teaches half-time for the University of St Andrews in Scotland and lives the rest of the year in Canada. |
| Written By |
|
KAREN SOLIE grew up in southwest Saskatchewan. Her five previous collections of poetry–Short Haul Engine, Modern and Normal, Pigeon, The Road In Is Not the Same Road Out, and The Caiplie Caves–have won the Dorothy Livesay Award, Pat Lowther Award, Trillium Poetry Prize, and the Griffin Prize, and been shortlisted for the Derek Walcott Prize and the T.S. Eliot Prize. A 2023 Guggenheim Fellow, she teaches half-time for the University of St Andrews in Scotland and lives the rest of the year in Canada. |