In Kapusta, Moure performs silence on the page and aloud, writing "gesture" and "voice" to explore the relation between responsibility and place, body, and memory, sorrow and sonority. Here, poetry flourishes as a book "beyond the book," in a space of performance that starts and stops time.
In Little Theatres, Ern Moure's avatar Elisa Sampedrn first spoke about theatre and the need for smallness in order to articulate what is huge. Sampedrn, who reappears in the translation mystery O Resplandor as the translator of a language she does not speak, vanishes later in The Unmemntioable when the split in human identity that results from war and displacement is acknowledged. Now, in Kapusta, the character E. is alone, in the smallest of spaces - the bench behind her grandmother's woodstove in Alberta. Here, E. struggles to face the largest of historical and imagined spaces - the Holocaust in Western Ukraine, and to understand her mother's silence at the sadness of her forebears, her "salt-shaker love."
In Kapusta, Moure performs silence on the page and aloud, writing "gesture" and "voice" to explore the relation between responsibility and place, body, and memory, sorrow and sonority. Here, poetry flourishes as a book "beyond the book," in a space of performance that starts and stops time.
In Little Theatres, Ern Moure's avatar Elisa Sampedrn first spoke about theatre and the need for smallness in order to articulate what is huge. Sampedrn, who reappears in the translation mystery O Resplandor as the translator of a language she does not speak, vanishes later in The Unmemntioable when the split in human identity that results from war and displacement is acknowledged. Now, in Kapusta, the character E. is alone, in the smallest of spaces - the bench behind her grandmother's woodstove in Alberta. Here, E. struggles to face the largest of historical and imagined spaces - the Holocaust in Western Ukraine, and to understand her mother's silence at the sadness of her forebears, her "salt-shaker love."
| Published By | House of Anansi Press Inc — Apr 9, 2015 |
| Specifications | 136 pages | 5.875 in x 8 in |
| Keywords | Canadian; women writers; poetry; contemporary poetry; female poets; Holocaust; Ukraine; cabbage head; Polish; translation; English and French; bilingual; language; play; absurd; canadian poetry; war; world war II; WWII; bizarre; family; generation; |
|
Supporting Resources
(select item to download) |
Excerpt |
| Written By |
ERÍN MOURE is a poet and translator (primarily of Galician and French poetry into English) who welcomes texts that are unconventional or difficult because she loves and needs them. Among other honours, she is a two-time winner of Canada’s Governor General’s Award (in poetry and translation), a winner of the Pat Lowther Memorial Award and the Nelson Ball Prize, a co-recipient of the QWF Spoken Word Prize, a three-time finalist for a Best Translated Book Award in poetry, and a three-time finalist for the Griffin Poetry Prize. She is based in Tiohtià:ke/Montréal. |
| Written By |
|
ERÍN MOURE is a poet and translator (primarily of Galician and French poetry into English) who welcomes texts that are unconventional or difficult because she loves and needs them. Among other honours, she is a two-time winner of Canada’s Governor General’s Award (in poetry and translation), a winner of the Pat Lowther Memorial Award and the Nelson Ball Prize, a co-recipient of the QWF Spoken Word Prize, a three-time finalist for a Best Translated Book Award in poetry, and a three-time finalist for the Griffin Poetry Prize. She is based in Tiohtià:ke/Montréal. |
Short-listed, A. M. Klein Prize for Poetry, 2015