Launching off from subjects as varied as Tinder and animal testing, Emma Healey’s provocative collection of prose poems explores the urgent themes of feminism, mental illness, sexuality, artistic practice, alienation, connection, technology, and time.
In Stereoblind, no single thing is ever perceived in just one way. Shot through with asymmetry and misconception, the prose poems in Emma Healey’s second collection describe a world that’s anxious and skewed, but still somehow familiar — where the past, present, and future overlap, facts are not always true, borders are not always solid, and events seem to write themselves into being. An on-again, off-again real estate sale nudges a quartet of millennial renters into an alternate universe of multiplying signs and wonders; an art show at Ontario Place may or may not be as strange and complex (or even as “real”) as described; the collusion of a hangover and a blizzard carry our narrator on a trancelike odyssey through Bed Bath &Beyond. Using a diverse range of subjects — from pharmaceutical research testing to Tinder — to form an inventory of ontological disturbance, Healey delves into moments when the differences between things disappear, and life exceeds its limits.
Launching off from subjects as varied as Tinder and animal testing, Emma Healey’s provocative collection of prose poems explores the urgent themes of feminism, mental illness, sexuality, artistic practice, alienation, connection, technology, and time.
In Stereoblind, no single thing is ever perceived in just one way. Shot through with asymmetry and misconception, the prose poems in Emma Healey’s second collection describe a world that’s anxious and skewed, but still somehow familiar — where the past, present, and future overlap, facts are not always true, borders are not always solid, and events seem to write themselves into being. An on-again, off-again real estate sale nudges a quartet of millennial renters into an alternate universe of multiplying signs and wonders; an art show at Ontario Place may or may not be as strange and complex (or even as “real”) as described; the collusion of a hangover and a blizzard carry our narrator on a trancelike odyssey through Bed Bath &Beyond. Using a diverse range of subjects — from pharmaceutical research testing to Tinder — to form an inventory of ontological disturbance, Healey delves into moments when the differences between things disappear, and life exceeds its limits.
| Published By | House of Anansi Press Inc — Apr 3, 2018 |
| Specifications | 112 pages | 5.5 in x 8.5 in |
| Keywords | contemporary poetry; modern; relatable; online dating; mental health; addiction; millennials; canlit; poems; canadian poetry; women writers; women's Literature; unstable neighborhood rabbit; dunk tank; kayla czaga; begin with the end in mind; broom broom; brecken hancock; poetry lovers; |
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Excerpt |
| Written By |
EMMA HEALEY’s first book of poems, Begin with the End in Mind, was published by ARP Books in 2012. Her poems and essays have been featured in places like the Los Angeles Review of Books, the FADER, the Hairpin, Real Life, the National Post, the Globe and Mail, the Toronto Star, the Walrus, Toronto Life, and Canadian Art. She was poetry critic at the Globe and Mail (2014–2016) and is a regular contributor to the music blog Said the Gramophone. She was the recipient of the Irving Layton Award for Creative Writing in both 2010 and 2013, a National Magazine Award nominee in 2015, and a finalist for the K.M. Hunter award in 2016. |
| Written By |
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EMMA HEALEY’s first book of poems, Begin with the End in Mind, was published by ARP Books in 2012. Her poems and essays have been featured in places like the Los Angeles Review of Books, the FADER, the Hairpin, Real Life, the National Post, the Globe and Mail, the Toronto Star, the Walrus, Toronto Life, and Canadian Art. She was poetry critic at the Globe and Mail (2014–2016) and is a regular contributor to the music blog Said the Gramophone. She was the recipient of the Irving Layton Award for Creative Writing in both 2010 and 2013, a National Magazine Award nominee in 2015, and a finalist for the K.M. Hunter award in 2016. |
“Tune into an inner world the size of a city, where the sound of time moving is a lot like the hiss of an audio tape being rewound and played back over and over. Here the speaker wants to hear: what’s true, what’s real, what’s hers. She seeks the essential shape of life itself — an imagined, elusive symmetry — with one eye fixed on the material and the other spun in toward a private screen. Stereoblind is incisive, vulnerable, brutal, and full, ultimately, of love.” —Damian Rogers