This past September I had the pleasure of starting my MFA in Creative Writing at the University of Guelph. So far, I’ve taken an incredible poetry workshop with Dionne Brand, who’s been one of my literary heroes for years, an amazing plenary class with Michael Winter, and I’ve heard amazing guest speakers, lectures and performances.
This is also the year the program was celebrating its ten- year anniversary at IFOA, called Recklessness: the Art of Writing. Program coordinator and author Catherine Bush introduced the theme by explaining that “the energy of reckless abandonment is heedless and endlessly hopeful”.
The selection of readers, all former graduates of the program, ranged from spoken word to poetry, memoir, novels, music and plays. Each reading was unique, and intensely powerful. I was overcome by the privilege of being part of the program, and by the experience of hearing so much incredible talent on stage.
The evening began with a rousing spoken word performance by poet and novelist Andrea Thompson. Andrea was one of the pioneers of slam poetry in Canada, and her performance referenced some of our “ancestors of verse” including Lillian Allen. Her poems also addressed issues of race, and community “God they asked for strength/each other they asked for direction” with the line, “still our history will not be undone” resonating in my mind and heart for hours.
The second reader was Liz Howard, who read from her wonderful, Griffin Poetry Prize winning collection Infinite Citizen of the Shaking Tent. There’s really something special about hearing one of your favourite poems read out loud, hearing the emotion and cadence and rhythms as the poet intended them. Hearing Liz read from Look Book, with its precise everyday imagery juxtaposed with heartbreak was one of the most moving readings I’ve ever heard. “I go back into our clapboard/house to look at the Sears/catalogue and dream I am a girl posed into happiness… somewhere my birth father is drunk and homeless/half mad when/the cops ask him for his name/he’ll say December”
Ayelet Tsabari, author of the incredible Sami Rohr Prize winning short story collection, The Best Place on Earth, read from her forthcoming memoir. With beautiful honesty and openness, Ayelet read about her travels to India in her twenties, and the journey to giving herself permission to write. She wrote about the struggle to write in English after growing up in Israel, describing her fear that the language was like a “lost genre.” Her desire to write, “to introduce chance into my life, to coax the stories into the open” was inspiring to every writer in the room.
Mark and Marichka Marczyk met and fell in love during Ukraine’s Euromaidan protests in Novemeber 2013. Together they created Counting Sheep, a “guerilla folk opera” a performance that retells the Maidan revolution with spirited punk and haunting folk music, with vocals by both Mark and Marichka. Behind them were screens that projected poignant war visuals, that were made more disturbing when juxtaposed with cartoon montages, nature and children.
Multi award winning author Shani Mootoo read from her new novel in progress. It brimmed with intelligent characterization and the type of sharp humour that made her last novel, the Giller shortlisted Moving Forward Sideways Like a Crab such a pleasure to read.
Poet and librettist David James Brock read from an opera designed with composer Gareth Williams as part of Breath Cycle, a concept community opera project for people with cystic fibrosis. In his sensitive and funny reading, he perfectly captured the tender and sweet experience of a teenage girl with cystic fibrosis, sneaking out to meet a boy she has a crush on.
Playwright and poet Motion performed some dynamic and compelling spoken word. Her poem, For Maya, spoke profoundly to the experience of every writer: “when Maya wrote me notes of hope/ Toni threw me rope/ and Alice covered my shoulders with a violet cloak… I found the words to bring me home… I can still write/I can still save my life”
Current MFA student and winner of the RBC Taylor Emerging Writer Award Adnan Khan read a potent scene from his debut novel in progress. As in his National Magazine Award nominated essay, Our Brownness Does Not Belong Here, he addresses issues of racism with intelligence and sensitivity. His character Omar’s experiences developing feelings for a friend (whose family then treats him with mistrust and hostility) invests the audience emotionally and makes everyone want to read the rest.
Playwright Judith Thompson wholly transformed herself into an Iraqi mother, the protagonist of the third monologue in her brilliant and chilling play, Palace of the End. Set before and after the invasion of Iraq in 2003, the audience sat transfixed, moved to tears as the character described being tortured in front of her children.
The evening ended with a wonderful reading by the amazing Zoe Whittall, whose latest novel, The Best Kind of People was recently short listed for the Giller Prize. Zoe is one of my favourite writers, and her work has inspired me tremendously. She read a scene from the point of view of Kevin, a writer who has decided to exploit the scandal that is erupting in his town. Full of brilliant social observations, and winking references to the struggles of all writers, it was the perfect ending to an incredibly inspiring and remarkable evening.
By guest blogger Danila Botha. You can follow Dinal on Twitter @DanilaBotha