I was so ready for this. For this weekend. A festival of women writers called “Growing Room,” put on by the ROOM journal collective.
I’ve been happy in our move, I can certainly count the ways I like Tsawwassen, but I was unusually excited about the opportunity to be in the middle of writers again. Never mind that I wouldn’t know anyone. Or would have to plan and plot my getting there on a map. I was reading at the launch of ROOM’s latest issue (below) on Saturday evening, since it contains a creative non-fiction piece of mine (“Notes Toward an Autobiography”). Why not spend the day at panels and workshops? Why not spend the next day too? Just to hear the familiar vocabulary of writers’ talk. Just to hear them read, even complain, about their work.
Why not indeed? And a rich two days they were. A highlight: a panel on writing about trauma with Evelyn Lau, Christine Lowther, and Sonnet L’Abbe. Another: a panel on “rewriting the stories we tell about our bodies” with Lorna Crozier, Francine Cunningham, Nilofar Shidmehr, and Juliane Okot Bitek. Continue reading
Last week we spent a couple of days in the Waterloo area with my brother, street photographer Al Doerksen, and sister-in-law, artist Agatha Doerksen. First up was the opening of Agatha’s stunning new show, “Off the Wall,” at the Red Brick Cafe in Guelph. The first pieces in this series were inspired by layers of peeling posters in downtown Toronto. Agatha gathers material life wherever she finds it–lists, wallpaper, bits of text, buttons, old photos, and much more–which she then maps and collages in new arrangements. These “remnants and discards” of daily life are variously re-layered, re-configured, revealed, perhaps covered again, perhaps painted upon, but thus preserved. The result is sometimes whimsical but more often–to my view–boldly provocative, and deep. Here’s “A Single Leaf,” one of my favourites in the show. If you live in the Guelph area, do stop by to view the exhibit, or see more of her work at the Art by Agatha page on Facebook.
The opening itself had a layer of unexpected drama when one of the largest pieces was stolen the day before the opening. CBC told the story.
“Nativity” by Brian Kershisnik. Used by permission.
This Advent I’m instructed and cheered by “Nativity,” a painting by Brian Kershisnik. A detail of the painting, framing Mary and Joseph and child, appeared on the cover of The Christian Century and I was immediately struck by the curious crowding-in angels and then by Joseph. Oh my, yes, Joseph with his hand to his face and a “what in the world have I gotten myself into?” look. At least that’s what I see in the gesture. I recognize that look, that question. It’s one I’ve had rather too often in the last while about things I’m “into.” Such as this stage of life –getting older, that is– and the current writing project and the book-juror assignment I’ve committed to for the months ahead. Anguished hand to face for matters one can’t change, and for matters to which one has said Yes. Continue reading