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9780889229143 English 0889229147 Among Canada's most critically acclaimed poets, Phyllis Webb published seven poetry collections between 1954 and 1990, before retiring from writing and dedicating herself to abstract painting. Compiled for the first time in one volume, Webb's poems are infused with an interest in public life and the common good, concerns which underpinned her decades-long career as a radio broadcast journalist., When Phyllis Webb published Wilson'e(tm)s Bowl in 1980, Northrop Frye hailed it as 'eoea landmark in Canadian literature'e: landmark, an event that marks a turning point in something (in this case, Canadian literature); and an instantly recognized feature of a landscape (in this case, the landscape of Canadian poetry). Wilson'e(tm)s Bowl was Webb'e(tm)s fifth volume of poetry. Three more followed and then she fell silent, turning from literature to abstract painting. Peacock Blue compiles in a single volume all of Webb'e(tm)s published, unpublished, and uncollected works from a writing career that spanned fifty years. It offers readers the opportunity to relish the arc of Webb'e(tm)s entire poetic oeuvre, from the modernist lyricism of her early works, to the groundbreaking volume, Naked Poems (1965), in which Webb created for herself a new minimalist langua≥ from Wilson'e(tm)s Bowl to what Douglas Barbour calls 'eoeWebb'e(tm)s loving and subversive engagement with the ghazal'e in Water and Light (1984); and finally to the postmodernist prose poems of Hanging Fire (1990). The concluding section of Peacock Blue contains almost fifty poems, some of which have never been published before. It also includes brilliant but forgotten poems and poetic surprises. Brenda Carr has suggested that one of Webb'e(tm)s later essays, 'eoeMessage Machine'e (1990), 'eoeinitiates a re-reading of her poetics and practice 'eŠAgainst her anxiety that she is a passive 'e~message machine'e(tm) for masculinist culture.'e However, as Carr points out, 'eoeWebb posits another possibility 'e" 'e~cross-dressing.'e(tm) She theorizes her mimicry of the male persona as analogous to a 'e~masquerade'e(tm) or 'e~street theatre'e(tm) and in so doing reconstructs even her earlier poems asa performative space in which agency is possible.'e The truth of Carr'e(tm)s insight becomes increasingly apparent to anyone who undertakes to read through Webb'e(tm)s entire poetic output, gathered together, at last, in Peacock Blue., When Phyllis Webb published Wilson's Bowl in 1980, Northrop Frye hailed it as "a landmark in Canadian literature": landmark, an event that marks a turning point in something (in this case, Canadian literature); and an instantly recognized feature of a landscape (in this case, the landscape of Canadian poetry). Wilson's Bowl was Webb's fifth volume of poetry. Three more followed and then she fell silent, turning from literature to abstract painting. Peacock Blue compiles in a single volume all of Webb's published, unpublished, and uncollected works from a writing career that spanned fifty years. It offers readers the opportunity to relish the arc of Webb's entire poetic oeuvre, from the modernist lyricism of her early works, to the groundbreaking volume, Naked Poems (1965), in which Webb created for herself a new minimalist langua≥ from Wilson's Bowl to what Douglas Barbour calls "Webb's loving and subversive engagement with the ghazal" in Water and Light (1984); and finally to the postmodernist prose poems of Hanging Fire (1990). The concluding section of Peacock Blue contains almost fifty poems, some of which have never been published before. It also includes brilliant but forgotten poems and poetic surprises. Brenda Carr has suggested that one of Webb's later essays, "Message Machine" (1990), "initiates a re-reading of her poetics and practice ... Against her anxiety that she is a passive 'message machine' for masculinist culture." However, as Carr points out, "Webb posits another possibility - 'cross-dressing.' She theorizes her mimicry of the male persona as analogous to a 'masquerade' or 'street theatre' and in so doing reconstructs even her earlier poems asa performative space in which agency is possible." The truth of Carr's insight becomes increasingly apparent to anyone who undertakes to read through Webb's entire poetic output, gathered together, at last, in Peacock Blue.
9780889229143 English 0889229147 Among Canada's most critically acclaimed poets, Phyllis Webb published seven poetry collections between 1954 and 1990, before retiring from writing and dedicating herself to abstract painting. Compiled for the first time in one volume, Webb's poems are infused with an interest in public life and the common good, concerns which underpinned her decades-long career as a radio broadcast journalist., When Phyllis Webb published Wilson'e(tm)s Bowl in 1980, Northrop Frye hailed it as 'eoea landmark in Canadian literature'e: landmark, an event that marks a turning point in something (in this case, Canadian literature); and an instantly recognized feature of a landscape (in this case, the landscape of Canadian poetry). Wilson'e(tm)s Bowl was Webb'e(tm)s fifth volume of poetry. Three more followed and then she fell silent, turning from literature to abstract painting. Peacock Blue compiles in a single volume all of Webb'e(tm)s published, unpublished, and uncollected works from a writing career that spanned fifty years. It offers readers the opportunity to relish the arc of Webb'e(tm)s entire poetic oeuvre, from the modernist lyricism of her early works, to the groundbreaking volume, Naked Poems (1965), in which Webb created for herself a new minimalist langua≥ from Wilson'e(tm)s Bowl to what Douglas Barbour calls 'eoeWebb'e(tm)s loving and subversive engagement with the ghazal'e in Water and Light (1984); and finally to the postmodernist prose poems of Hanging Fire (1990). The concluding section of Peacock Blue contains almost fifty poems, some of which have never been published before. It also includes brilliant but forgotten poems and poetic surprises. Brenda Carr has suggested that one of Webb'e(tm)s later essays, 'eoeMessage Machine'e (1990), 'eoeinitiates a re-reading of her poetics and practice 'eŠAgainst her anxiety that she is a passive 'e~message machine'e(tm) for masculinist culture.'e However, as Carr points out, 'eoeWebb posits another possibility 'e" 'e~cross-dressing.'e(tm) She theorizes her mimicry of the male persona as analogous to a 'e~masquerade'e(tm) or 'e~street theatre'e(tm) and in so doing reconstructs even her earlier poems asa performative space in which agency is possible.'e The truth of Carr'e(tm)s insight becomes increasingly apparent to anyone who undertakes to read through Webb'e(tm)s entire poetic output, gathered together, at last, in Peacock Blue., When Phyllis Webb published Wilson's Bowl in 1980, Northrop Frye hailed it as "a landmark in Canadian literature": landmark, an event that marks a turning point in something (in this case, Canadian literature); and an instantly recognized feature of a landscape (in this case, the landscape of Canadian poetry). Wilson's Bowl was Webb's fifth volume of poetry. Three more followed and then she fell silent, turning from literature to abstract painting. Peacock Blue compiles in a single volume all of Webb's published, unpublished, and uncollected works from a writing career that spanned fifty years. It offers readers the opportunity to relish the arc of Webb's entire poetic oeuvre, from the modernist lyricism of her early works, to the groundbreaking volume, Naked Poems (1965), in which Webb created for herself a new minimalist langua≥ from Wilson's Bowl to what Douglas Barbour calls "Webb's loving and subversive engagement with the ghazal" in Water and Light (1984); and finally to the postmodernist prose poems of Hanging Fire (1990). The concluding section of Peacock Blue contains almost fifty poems, some of which have never been published before. It also includes brilliant but forgotten poems and poetic surprises. Brenda Carr has suggested that one of Webb's later essays, "Message Machine" (1990), "initiates a re-reading of her poetics and practice ... Against her anxiety that she is a passive 'message machine' for masculinist culture." However, as Carr points out, "Webb posits another possibility - 'cross-dressing.' She theorizes her mimicry of the male persona as analogous to a 'masquerade' or 'street theatre' and in so doing reconstructs even her earlier poems asa performative space in which agency is possible." The truth of Carr's insight becomes increasingly apparent to anyone who undertakes to read through Webb's entire poetic output, gathered together, at last, in Peacock Blue.