This new program creates creative opportunities for a selected poet to encourage engagement with poetry writing in the community
The Poet in Place program is a new inclusive initiative that aims to engage the city's community with poetry and the literary arts.
The program spotlights a chosen poet or spoken word artist who has a term of two years and receives a total honorarium of $20,000, or $10,000 each year. The selected poet's responsibilities include performing original works at public events, delivering poetry workshops in collaboration with the Hamilton Public Library and developing creative placemaking projects.
Brianne Gascho is the cultural project specialist for the city of Hamilton. Her role consists of supporting arts and culture in the community. For this particular program, she is in charge of developing and managing the project as the lead.
Gascho explained the program was originally directed by the city council. They had pushed for a poet laureate program to do more for the literary arts in the city and Gascho and her team were tasked with assembling the project. After community consultations and research, they decided to create a program different from a traditional poet laureate program, as they wanted to remain accessible and to stay rooted in creative placemaking.
Gascho highlighted some key differences between a poet laureate program and Hamilton’s Poet in Place program. One key difference is that laureate programs are rooted in certain conceptions of merit and achievement, making them inaccessible to many artists, especially unpublished ones. Hamilton’s Poet in Place program does not require applicants to be published. Another key difference is that Hamilton accepts Poet in Place applications from spoken word artists, rather than only accepting applications from page poets. These features, Gascho explained, make the program unique to Hamilton.
“What really makes this program different is the amount of placemaking-based project work. . . which is using specific places and spaces in our city to implement projects. So we're going to create opportunities for engagement that are very specific to Hamilton [using poetry],” said Gascho.
The process for choosing the poet begins when the city receives applications from poets, according to Gascho. Application materials include a project proposal, artist bio, community engagement statement and poetic works in the form of writing or video. City staff then check each poet’s eligibility requirements before sending their applications to a jury.
The jury consists of poets, spoken word artists and people with placemaking and project expertise, though the specific members of the jury are not revealed until after the poet has been chosen. The jury reviews applications and reaches a consensus decision for the poet before announcing it in the new year. The process is entirely community-led.
Reception for the program has been both positive and negative. Gascho said that some negative reception is to be expected with the social issues the city currently faces, with people concerned about the monetary cost of the program and whether it is at the expense of funding other initiatives.
On the other hand, there has been a lot of positive support from the city council, the mayor and the broader arts community. This has highlighted a positive outcome of the project, which is that citizens and people not normally engaged with the arts have been given the opportunity to explore that side of Hamilton more.
Gascho also pointed out that the program is relevant to students as a way to venture beyond the academic setting on campus and explore more of what the city has to offer.
“It's an opportunity for students to engage with practicing artists and arts professionals. . . it provides opportunities for students to actually connect with these [poetic] projects. . . and be able to see the literary arts and more broadly, the creative arts activated in our community,” said Gascho.
Gascho encourages students to attend workshops or performances held by the poet in the future. If they have any questions or would like further information about the program, they can connect with her or other members involved in arts and culture. Her information is located here. She hopes that students will enjoy what the program has to offer and feel involved in the community.
The latest issue of online magazine Hamilton Arts and Letters showcased international works to represent the diversity in Canada
Hamilton Arts & Letters is an online magazine that publishes biannually and spotlights emerging writers and artists in addition to already established ones. HA&L showcases a variety of literary works, such as fictional pieces, graphic novel excerpts, exploratory writings, poems and works of literary non-fiction. It also features the works of visual, audio and film artists. HA&L accepts submissions from writers across the country
It was founded in 2008 by Paul Lisson, Fiona Kinsella and Peter Stevens. It is funded by the Ontario Arts Council, the Canada Council for the Arts, the City of Hamilton, members, sponsors, advertisers and open access subscription.
HA&L is also a recommender for the Ontario Arts Council Grants for Writers program and a co-founder of the Short Works Prize for Hamilton area authors. It aims to reflect the values of Hamilton in all its diversity, as well as other places across Canada in all their diversities.
Every issue of HA&L is different and bears the stamp of its editors. Some of themes past issues focused on, include science, Canadian Mennonites, climate action, creation stories and the parallel universe.
In the most recently published issue My Country is the World, issue 16.1, Guest Editor, Kim Echlin, wanted to centre the theme around Canadian international writing.
“[HA&L is] international. It brings in people from around the world. It's creative. It is a publication that is extremely flexible, because it's online. [Since it’s online,] they can use a lot of visual material, and they can do things like international translation,” explained Echlin.
[HA&L is] international. It brings in people from around the world. It's creative. It is a publication that is extremely flexible, because it's online. [Since it’s online,] they can use a lot of visual material, and they can do things like international translation.
Kim Echlin, Guest Editor of HA&L Issue 16.1
Echlin grew up in Burlington and has an academic background in English. She went on to become a novelist after graduating university, and she has written books such as The Disappeared. She has also worked as an arts producer for CBC Television’s The Journal.
Echlin wanted to represent the diversity of HA&L’s writers. Their editorial team would work together to translate works that were not in English.
“I wanted to include many languages, because so many of our writers work in more than one language,” said Echlin.
Echlin wants to expose the readers to more diverse writing based in Canada.
“Our writing community now represents basically every nation on Earth, so it's really important to find venues for people to publish and then for readers to understand that there's just so much material out there from Canada [that] happens to find its origins in other places,” explained Echlin.
Our writing community now represents basically every nation on Earth, so it's really important to find venues for people to publish and then for readers to understand that there's just so much material out there from Canada [that] happens to find its origins in other places.
Kim Echlin, Guest Editor of HA&L Issue 16.1
In the future, HA&L wants to continue to spotlight new and emerging Canadian writers and to explore different themes. Stay tuned for their 15th anniversary event that will be held on Dec. 7, 2023, in collaboration with the Art Gallery of Hamilton!
As the red wine takes over my father’s tales, I am once again grateful of this family
I see every youthful spirit run through his veins, steers his lips towards a distant memory of invigoration and whim
I see his heart find the floor of his past, running along the same sun-cracked tiles of the compound, face bright and feet blackened with grime
I do not know the names of the same old faces he describes, but the light of his smile brings them to this table
Together, our necks sunburnt from the Manila eye, slick with sweat from the July heat, surrounded by Christmas lights and Chardonnay
My father is beautiful
There are so many words but none more true than beautiful
As my sister and I are brought closer to ourselves, back to every little thing on this side of Heaven
At the best of our years and only getting better, soaking in this afterglow of love and timeless tradition
In this past reality of stories, etched into an outline of nostalgia on his face that resembles my reflection
We are family and my father is beautiful
There are so many words but my father is beautiful
C/O Emma Shemko
Book recommendations for the earth lovers and tree huggers
By: Emma Shemko, contributor
Happy Earth Day! Reading books is a great way to celebrate our beautiful planet not only on April 22, but all year round.
Often Earth Day book recommendations can be tough-to-read non-fictions with inaccessible language that discourages readers, leaving them feeling as though the fate of Earth rests on their shoulders alone.
Listed below are 10 easy and enjoyable reads, including poetry, graphic novels and climate change fiction. I hope this list helps you find a book that inspires you as much as they have all inspired me.
Each book is available from Hamilton’s public libraries!
Please be sure to check the trigger warnings for the books below. The Storygraph app is an excellent resource for doing so.
Parable of the Sower, Octavia E. Butler (climate fiction; graphic novel)
Set in the very near future, 2024 - 2027, after the world has been destroyed by climate change, Lauren Olamina strives to create a better future. Not venturing too far from the experiences of many today — drought, food and water insecurity, rape culture and systemic racism — Butler’s novel is heartbreaking and heartwarming all in one beautifully written package. This book has also been adapted into a graphic novel by Damian Duffy.
“There’s always a lot to do before you get to go to heaven," said Olamina in Butler's Parable of the Sower.
All Over Creation, Ruth Ozeki (climate fiction)
Years after running away from home, Yumi returns to the farm she was raised on to care for her parents, where she finds herself working with an activist group. The Seeds of Resistance, spreads awareness about harmful genetically engineered foods and continuously fights big corporation’s using GMOs without gaining consent from consumers. Ozeki brings each character to life with her powerful writing.
Now You Care, Di Brant (poetry)
In this poetry collection, environmental feminist Di Brandt expresses her anger about the climate issues caused by industrialism, colonialism and ecocide. Brant stresses the importance of preserving our beautiful planet for future generations. Each poem is unique and deeply moving.
“…the future clogged in the arteries/of the potholed city…” from "Zone: <le Détroit>" in Brant's Now You Care.
20000 Leagues Under the Sea, Jules Verne (classic)
Captain Nemo and his crew battle giant sea creatures and explore wonderous Pacific coral reefs. Verne was before his time in the discussion of how overfishing and resource exploitation are destroying the natural world. This novel overflows with beautiful descriptions of marine life and is perfect for anyone who enjoys classics.
“Thus, where there was once life and animation [English and American whalers] had left silence and death," said Captain Nemo in Verne's 20000 Leagues Under the Sea.
Life of Pi, Yann Martel (fiction)
Pi Patel and his family decide to immigrate from India to Canada with their zoo animals. When their cargo ship sinks, Patel and a Royal Bengal tiger are left to fend for themselves on a small lifeboat in the Pacific Ocean. This book is made up of stunning metaphors for friendship with nature and religion and the importance these things have when trying to survive the direst conditions.
“I sang that tree’s glory, its solid, unhurried purity, its slow beauty," said Patel in Martel's Life of Pi.
I’m Not a Plastic Bag, Rachel Hope Allison (graphic novel)
This graphic novel does not have any dialogue and yet it speaks a powerful message about the tragedy that is the Great Pacific Garbage Patch. Allison’s beautiful illustrations depict the garbage patch as a monster beckoning us to take notice of the damage we’ve caused.
On Fire: The (Burning) Case for a Green New Deal, Naomi Klein (non-fiction)
Klein argues for a radical divestment from fossil fuels as our seas rise and violence against people of colour and women continues. Climate change thrives on fossil fuels, colonialism, racism, sexism, xenophobia and capitalism. Klein calls out the politicians who have promised to change yet continue to move us farther away from sustainability. On Fire is a strong call to action.
“We face so many overlapping and intersecting crises that we can’t afford to fix them one at a time," Klein in her book On Fire: The (Burning) Case for a Green New Deal.
The Annual Migration of Clouds, Premee Mohamed (climate fiction)
In a world plagued by natural disasters and insecurity, Reid and her mother are one of few who suffer from a deadly virus. When Reid is accepted into a prestigious school, she battles between choosing her dream or choosing to care for her mother. Mohamed’s post-apocalyptic novella is written is stunning prose where each page encourages the reader to appreciate our planet.
C/O Robyn Sidhu
The Silhouette: Please introduce yourself.
Robyn Sidhu: My name is Robyn, my pronouns are he/she/they and I'm a fifth-year student at [McMaster University] in the [political science department] and I'm double majoring in peace studies and attempting to minor in gender studies.
When did you first get into poetry?
I was in grade 10 [and] for a civics assignment, we had to do a creative project that had to do with a social justice issue my teacher gave us. I decided to do poetry and I think queerness. This was also when I was still in the closet so I was like, “let me test the waters, let's see how these folks think about the gays.” That same year I started slamming with the Brampton poetry slam. That doesn't exist anymore; it only lasted a couple years, unfortunately. But I loved it. I was writing really angsty poetry that was definitely not good at all, but I really loved it. Then I came to Mac and I heard about the Burlington slam project. I ended up joining the team and being able to go to a couple different festivals, which was really cool. I got to go to Dallas, [Texas] in my first year for the International Women's Poetry Slam and this was also before I came out as nonbinary, [so] I identified as a woman when I went. I got to go to Chicago for the National Poetry Slam out there which is super cool and only three Canadian teams get to go — the Burlington, Toronto and Vancouver teams. I also ended up going to the Canadian festival for Spoken Word in my second year, which was in Guelph. That's how I got to know the national scene and then the American scene and kept writing.
Do you have any goals in regards to your work?
It's kind of weird. Once the pandemic happened, I've taken a step back from writing and now I teach [more]. I work with this charity in Toronto called CANVAS. We do consent education training in schools and workplaces and queer identity training in schools, camps, workplaces and stuff like that. Through CANVAS, I run a poetry program for [femme and misogyny-affected] youth and shelter spaces. For the past two years, I've been running this program . . . Every year, I get to meet so many wonderful youth who come through the program and write and foster and create that space. That is something that I love doing more than actually performing and writing. We put together a book every year called the Back Talk Collective. My real poetry goal is to expand that program . . . I want to expand that. I want to do a queer-specific stream; I want to do a stream for boys and masc [folks]; I want to do a trans only stream; I want to keep teaching . . . I love doing it. All of our sessions are about some part of our identity or experience. We try to weave a lot of other art forms into the session like collaging, poetry and music. We do performances together and we pay whoever comes to perform. We really strive to not just create that safe space in session, but also as an organization, [to] really invest in our youth and our artists. So, we’ve implemented this new thing where if you're submitting to any literary magazine and there's a paywall to submit, we'll cover that. Or if you're wanting to go to other workshops that are arts-related and there's a paywall, let us know and we'll pay for it. That's been one of the things that I've really tried to foster because I don't just want people to come to my session and then do poetry; I want them to invest in themselves.
Have there been any obstacles that you've encountered with poetry or any of your work?
I run a poetry slam series in Toronto called Hot Damn it's a Queer Slam. It's Canada's only queer circuit for queer people by queer people. The pandemic has forced us online. We haven't been able to meet together in person. Everybody's Zoomed out and nobody wants to go to Zoom events so we found that our poetry slams, our open mics and the workshops we've been hosting have been pretty intimate. They're not getting as many people as they normally would have. That's been kind of a step back, but also the beautiful thing about Zoom is that everybody can join, no matter where they're from if you have Internet access. We've been seeing a lot more disabled folks come and join our sessions because you can log on and you don't have to physically go anywhere. We've had people from across the world join our workshops, which has been really weird and really good because we never would have met [them] otherwise, but now [they’re] from London and [they’re] in this workshop on a random Saturday.
Do you have any favourite poems?
Sonya Renee Taylor and it's called The Body is Not an Apology. Gorgeous, phenomenal. It's about how you don't have to apologize for existing and you having a body is a joyous reckoning. Sonya Renee Taylor also has a website and an organization called The Body is Not an Apology. It's a movement about reclaiming your body as a disabled person, reclaiming your skin as a racialized person and then it's just a phenomenal organization and movement. Another poet that I absolutely adore, but, unfortunately, have never been able to meet, is Melissa Lozada-Oliva and she is phenomenal. She's a [Latin] writer and she's got this poem called Black Thong Underwear.
Do you have any favourites of your own?
Falling in Love with a Poet. I just love roasting shitty men I've dated and that one is so close to home. When I read it for other poets, they're like, "wow, you're really calling me out" and well, we all do this stuff, so. Then I've got another poem I wrote in my first year that's called Sunflowers and Rooftops and I usually perform it with my ukulele. I know four chords on the ukulele and I milk them all. It's about this first-year romance I kind of had but I exaggerated in my head.
Do you have takeaways from your work, your experiences or just even from poetry itself?
I think the biggest takeaway from poetry has been that anybody can be a good writer. As long as you foster it, especially with teaching. There's this thing I teach called the responsibility of the storyteller. [It’s] the idea that we're all experts of our own narrative, but we shouldn't be writing each other's stories; write what you know [and] write what you've experienced. It's been really interesting to see people writing such specific stories to their own experiences and then seeing other people relate to that. It makes me feel not alone. Poetry brings so many people together. If I read a random poem out and somebody I never met before relates to it, that's a shared moment and I love those shared moments. I love how such specific stories in my own life can resonate with other people and vice versa. Also, putting your heart into it and trying really can get you somewhere. You know, with being able to go to all the festivals, being able to meet so many wonderful people and being able to run a slam myself. It's just my wildest dreams come true.
C/O @nthenyoudie_
Hamilton-native Paulo Leon discusses the evolution of his music and where his drive to pursue his passion has led
By: Edwin Thomas, Contributor
Music has been a significant influence throughout Paulo Leon’s life. Chilean folk music and poetry was the soundtrack of his childhood. His mother, Nancy, was a guitarist and singer for a Chilean folk band in Kitchener, while his father, Marco, was an avid hip-hop fan and introduced him to Snoop Dogg, Dr. Dre and Gustavo Cerati, an Argentinian psychedelic singer-songwriter.
In the eighth grade, Leon spent a lot of his time around his older brother, Gabriel and his brother’s friends. He admired their ability to freestyle rap with each other. Gabriel eventually took Leon under his wing and inspired Leon to make beats for his raps.
Leon taught himself FL studio using a combination of YouTube tutorials and experimentation. This do-it-yourself mentality became a core value he would carry forward in his music and into his label later on. His beats then were inspired by the music he listened to at the time — Donald Glover’s Because the Internet, Kanye West’s Yeezus, J. Cole’s Born Sinner and Coldplay’s X&Y.
Around this time, his mother also pushed him to write and perform with the Hamilton Youth Poets. Paulo was initially hesitant to participate. He was always a shy kid but had an innate desire to perform. He was encouraged by his first slam poetry performance, which was well received by the audience.
“People were responding to me, to what I was saying on stage,” said Leon. “People snapped and people yelled, ‘that was a bar’ in the crowd. That was really the moment when I was feeding off of it, I liked when people were enjoying my work.”
His time with the Hamilton Youth Poets improved his confidence performing in public and taught him to feel more comfortable expressing his true self.
In high school, Leon would also write poetry during independent study time in class. He found his creative flow was best during class.
“The best part [of writing] for me is when the world feels like it’s going past you,” said Leon.
Over time, he transitioned from writing poetry to writing rap songs. Leon started making beats for his raps, though he would not publish them initially. His first songs were heavily influenced by Kanye’s stripped-down, soulful style. It was also during his time in high school where he released Glass Plates, his first single. He recalled being excited when people in his high school were listening to it.
“That feeling still sticks – getting excited that people are tuning in,” said Leon.
“That feeling still sticks – getting excited that people are tuning in.”
paulo leon, musician
Leon released his first album, Casablanca, in 2017. Casablanca’s reflective storytelling coupled with powerful instrumentals made it a strong alternative hip-hop record. Leon was heavily inspired by Jay-Z’s discography and Kanye’s production style, seen on songs such as Calling it Quits.
Leon enrolled in McMaster University’s Humanities program for English and Cultural Studies in 2019 with plans to become an English teacher. He became more comfortable with singing in public by performing in the half-circle sing-alongs in the courtyard between Matthews Hall, Moulton Hall and Wallingford Hall. During first year, he was surrounded by musically-inclined peers who also helped propel his growth as a singer, encouraging him to try new things and step outside his comfort zone.
During the pandemic, Leon was not able to perform, losing his main source of income. He also struggled with the lack of opportunities to collaborate with other musicians due to COVID-19 restrictions.
At this time, he was at a crossroads with what he wanted his future to look like. On one hand, he wanted to follow his passion and focus on his music career. On the other hand, he wanted to continue studying at McMaster because it was a more secure option for him. Ultimately, he chose to defer from McMaster and this was a pivotal moment in Leon’s life.
“I decided to defer from McMaster to throw myself into my work and spend my time, money and energy into something I was passionate about,” said Leon.
His decision to leave McMaster and pursue his passion was the inspiration behind his 2020 album, Partly Stabilized, Partly Curious.
A typical day for Leon now consists of working all day with fellow collaborators from the label, Whak and Mo, in the home studio of his parents’ house. Besides working on music, Paulo would also work with andthenyoudie’s releases. The consistency in Leon’s work life is a structure he emphasizes.
“Always keep creating,” said Leon. “I’ve suffered from writer’s block. You have to feel the block but also don’t be afraid to keep creating.”
Drawing from his own life, he offered further advice to other future artists.
“Do not hesitate to get uncomfortable, be yourself,” said Leon. “And don’t hesitate to reach out to others around you for help or feedback. A lot of my time was spent not playing [music] for anybody, just because I was nervous.”
“Do not hesitate to get uncomfortable, be yourself. And don’t hesitate to reach out to others around you for help or feedback. A lot of my time was spent not playing [music] for anybody, just because I was nervous.”
paulo leon, musician
Leon is now working on his next album, Mr. Show Missed his Show, a reflective album of Leon’s decision to jump into music. Over the pandemic, he took a liking to folk and psychedelic rock, as well as getting into Tame Impala, The Beatles, Violent Femmes and Joy Division. The psychedelic aspect of Tame Impala’s music will be featured in his upcoming album, along with more singing and guitar production. He is looking forward to releasing and performing the album, which comes out in late September. In the meantime, his prior work can be found here.
A Sex and the Steel City reading list
The stories we tell ourselves matter. From the imaginary to the instructional to the personal to the public, these stories can be incredibly influential. They shape our actions and decisions and inform our beliefs and values. This is perhaps most true when it comes to topics that are especially close to our hearts, such as love and relationships.
For Sex and the Steel City 2021, the Sil has compiled a list of books about love, relationships and identity to add to your bookshelves.
PHENOMENAL FICTION
Romance is one of the most extensive genres encompassing a large range of subgenres from fantasy to historical fiction. While this variety can be helpful at times, it can also make it more difficult to find what you’re looking for. Here are a few places to start.
If you’re looking for a light-hearted read, try Carry On by Rainbow Rowell. The first in an ongoing series, Carry On follows Simon Snow through his last year at Watford School of Magicks as he works with his friends to uncover a mystery and manages to find love along the way.
Another light-hearted read is Love and Other Words by Christina Lauren, which weaves back and forth in time to tell the story of a chance reunion of childhood sweethearts Macy and Elliot after nearly a decade apart.
Other light romances include Love’s Recipe by Mila Nicks and One Last Stop by Casey McQuiston. Love’s Recipe is a story for food lovers, following recently divorced Rosalie as she helps Nick try to save his family’s restaurant. One Last Stop tells the story of August, a waitress at a 24-hour diner, and Jane, the time traveller she meets on the subway, as August tries to help Jane get back to her own time before it’s too late.
Dealing with questions of culture, community, identity, Islamophobia and sexism among others, Such a Lonely, Lovely Road by Kagiso Lesego Molope and The Chai Factor by Farah Heron are more serious, but still satisfying reads.
Or if you enjoy classics, Jane Austen’s Pride and Prejudice or Gabriel García Marques’ Love in the Time of Cholera are timeless tales worth taking a look at.
MEMORABLE MEMOIRS
While there’s something special about seeing yourself represented in fiction, memoirs are affirming in a more tangible way as they show that you are truly not alone in your feelings or experiences.
Samra Habib’s memoir We Have Always Been Here: A Queer Muslim’s Memoir is an excellent example of this, detailing Habib’s experiences growing up in Pakistan and Canada as she wrestled with ideas of faith, identity, love and sexuality and struggled to find a space where she could be herself.
A History of My Brief Body by Billy-Ray Belcourt and My Body Is Yours by Michael V. Smith are two more exceptional memoirs exploring questions of identity and sexuality. In A History of My Brief Body, Belcourt uses his personal experiences to examine the intersection between Indigeneity and queerness, while Smith confronts traditional ideals of gender and masculinity in My Body is Yours.
There are also some more informational memoirs, where authors draw on their personal experience to raise awareness about a certain issue, such as in Ask me about my Uterus: A Quest to Make Doctors Believe in Women's Pain, Not that Bad: Dispatches from Rape Culture (Roxane Gay) and The Pretty One: On Life, Pop Culture, Disability, and Other Reasons to Fall in Love with Me (Keah Brown).
Or if you’re looking for something a more lighthearted and more traditional autobiography, The Most of Nora Ephron (Nora Ephron) is a reflection on the late journalist and director’s life and questions of feminism and femininity, all told with her trademark humour.
NONFICTION TO TAKE NOTE OF
Education is absolutely essential, especially perhaps when it comes to relationships and sexuality. Books can be an excellent and informational starting place.
For example, books such as Ace: What Asexuality Reveals about Desire, Society, and the Meaning of Sex (Angela Chen) and Selling Sex: Experience, Advocacy and Research on Sex Work in Canada (Emily van der Meulen, Elya M Durisin, Victoria Love) offer comprehensive guides to topics you may have heard about in passing but need to know more about.
Anthologies in particular are wonderful for offering multiple perspectives and voices on a given topic. In Big: Stories about Life in Plus-Sized Bodies (edited by Christina Myers), 26 writers share their experiences and explore the intersection between body positivity and self-love, sexuality and other themes.
Non-Binary Lives: An Anthology of Intersecting Identities (edited by Jos Twist, Ben Vincent, Meg-John Barker and Kat Gupta) is another book with intersectionality at its forefront, touching on the range of answers to the question of what it means to be non-binary in the 21st century.
Two more anthologies worth taking note of are Queer Returns: Essays on Multiculturalism, Diaspora and Black Studies (Rinaldo Walcott) and Trans Love: An Anthology of Transgender and Non-Binary Voice (Freiya Benson).
Beyond educating us, books such as The Body is Not An Apology: The Power of Radical Self-Love by Sonya Renee Taylor can also offer guidance for moving forward as your best possible self.
POIGNANT POETRY
Something between fiction and memoir but also something entirely on its own, poetry holds nothing back, conveying a depth of emotion while also dealing with difficult topics with a grace that lengthier literature is often unable to.
Through her passionate and powerful words in Holy Wild, Gwen Benaway explores the intersection between the trans and Indigenous experience, while in Junebat John Elizabeth Stintzi carves out a space for themselves to explore questions of gender identity
Another collection exploring identity and sexuality, My Art is Killing Me and other Poems (Amber Dawn) draws on the author’s own experiences and is an unflinchingly honest examination of femineity, sexuality and sex work justice.
It is often poets’ willingness to speak to their own experiences that lend to the emotional impact of their work. In home body, Rupi Kaur reflects on the past and potential and reminds us how important love is in times of change.
In The Gospel of Breakin, Jillian Christmas draws on her own family history to create stories offering insight on culture, race and other themes. In Where Things Touch, Bahar Orang uses her experiences as a physician-in-training to explore the idea of beauty and what it means in the context of the larger human experience.
Supercrawl is an explosion of creativity, bringing the arts to life for three days every September. With thousands of visitors amongst live music, food vendors calling out orders, and animated art installations, the commotion can be overwhelming. The Author’s Tent provided a haven away from the hustle and bustle of the crowd. The setup was simple; ten chairs, a microphone and a table piled high with books beneath an open tent. The lights inside made it feel intimate and inviting while still giving passersby the opportunity to stay and listen to stories. Here are a few summaries of events that were offered at the tent:
Terrifying reads
The first reading was on the evening of Friday the 13. The moon was almost full and the sky threatened rain. A cool breeze drifted through the tent, enough to make someone’s hair stand on end. It was soon to be a dark and stormy night. This reading featured works — both published and unpublished — from authors Nathan Ripley, C.S. O’Cinneide and David Nickle. Topics ranged from mass shootings and haunted pilgrimages to gin-craving ghosts. Gasps and laughter drifted onto the street and drew a crowd of listeners. Nightmares were promised and delivered.
Writing the city
Saturday afternoon brought about a discussion of writing in Hamilton. The panel included Ryan McGreal, editor of Raise the Hammer, and Taien Ng-Chan, a founding member of the Hamilton Perambulatory Unit as well as a professor at York University. The panel was moderated by Noelle Allen, a publisher at Wolsak and Wynn (280 James Street N.). The panel spoke to the idea of rediscovering Hamilton — seeing something familiar as if it were for the first time. The panel encouraged listeners to take time to notice the city while walking through it. For instance, they suggested that visitors try walking through Jackson Square along where streets used to be.
Women on the poetry mic
Saturday evening featured poets Natalee Caple, Jaclyn Desforges and Julie McIsaac. Both song and spoken word filtered out into the square. A large crowd gathered around the tent and snapping fingers rang out into the night. The poems touched on motherhood and womanhood, amongst other things. Desforges featured a poem from her book, ‘Hello Nice Man’, provoking thought across the audience. ‘Enlightened Witness’, one of Desforges poems, asks the question: “If a man shouts in the forest and there’s no one to hear, who will help him process his emotions?” Poems such as ‘Enlightened Witness’ allowed for a night of tears, a few of which were from laughter.
Epic Books (226 Locke Street S.) had a table set up with books from every writer at the event. If you missed out on the Author’s Tent event, you can pick one up there.
Overall, the Authors’ Tent was both welcoming and a welcome respite from the noise of Supercrawl. The focus on local writers and local stories made it feel like coming home. It is my personal hope that this event returns next year and every year after that, so it can continue to share insight with Hamiltonians.
By: Lauren O'Donnell
‘A Two Piece’ consists of two separate and distinct dance pieces choreographed, respectively, by Georgi DiRocco and Jake Poloz. It is a part of the Hamilton Fringe Festival, and it runs until Sunday, July 28th. ‘A Two Piece’ is being put on at The Westdale Cinema, recently renovated and looking snazzier than ever.
As the audience filters into the theatre, the dancers are warming up. There are brief flashes of the performance that is to come, interspersed with stretches and laughter. With dance performances it can be easy to feel out of place and confused, but that was not the case with this show. Every movement spoke directly to the heart of summer romance, however fleeting. The performers channelled every emotion from lovesick, to happy, to heartbroken, to disinterested in every boy on every dating app. Truly, the most relatable content.
The stage remained bare except for a small bin of props. The focus remains permanently on the performers. They command the stage. There are brief moments of slam poetry interwoven within the choreography, connecting the movements to the words in another kind of duet. The poetry is good, but the true strength of the performance lies in the dance.
Each of the two pieces carries a different tone, as well as dramatically different music choices. In other words, if one of the pieces is not your other thing, the other one probably will be. Different as they may be, however, there is a cohesion and unity to the show that makes it feel whole and fulfilling.
I give this show a solid 2/2 pieces. When you’re compiling your list of Fringe plays to go see, make sure to add this one in. And then go ahead and add in every other Fringe show.
For more information, visit http://hamiltonfringe.ca/shows/a-two-piece/
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By: Drew Simpson
Over a month of Hamilton Youth Poet’s Black Poet Residency has passed. So far, the residency has taken place at the Art Gallery of Hamilton every Saturday and the weekly residency will continue until May.
HYP is an arts organization that launched in October 2012. The organization’s four main goals are to manifest a community of cultural understanding, offer youth tools to deliver their writing and literary skill, engage youth towards their academic ambitions and to support aspiring artists’ professional development.
Ultimately, HYP empowers young people by offering training as arts organizers and allowing youth to take part in the planning, promotion and facilitation of events. One of these events is the Black Poet Residency featuring Ian Keteku, a two-time national slam champion and multimedia artist, as a key facilitator.
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Although both the organization and event have poets within its name, participants may be beyond the scope of experienced poets. Those who wish to develop their writing skills, editing, computer literacy and even multi-digital processes will benefit from the residency.
“Those interested need not regard themselves as poets or require any prior knowledge of poetry. The residency aims to transcend simply writing poems,” explains one of HYP’s teaching artists, Akintoye Asalu.
This residency is in line with HYP’s focus on youth-focused events coordinated by youths, as it is aimed towards youth writers, performers and creative-minded individuals. As mentioned by Asalu, anyone who is interested in bettering their skills is welcome to attend.
“When our young people can tell and re-tell their histories in the context of public platforms, they are able to imagine and re-imagine their individual and collective identities and become culturally grounded in their own experiences,” explains HYP’s website.
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The residency aims to provide an inclusive and supportive space which allows black youth to express their experiences and explore their voices. Such a weekly residency is necessary in Hamilton, to amplify often-silenced voices while also developing skills and building community. Asalu can attribute the prosperity of this residency as a participant himself.
“Being able to sit down and converse with people who understand the struggles that come with being a [person of colour] motivates me to keep using my art to help our community in as many ways as I can… My only hope is that the healthy dialogue that exists within the residency will spread to the rest of the community,” explains Asalu.
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Poetry and art directly combat the sense of isolation people of colour experience on a daily basis. Especially as they face daily experiences with institutions that were built without them in mind.
Asalu describes how poetry allows him to be the voice for those cast in silence; bringing light to silenced struggles. He also finds poetry as a healthy coping mechanism. Every HYP event puts youth at the center. Therefore, a Black-focused residency, puts Black youth at the center; a position that may be unfamiliar to them.
“I want Black people all around the city to feel comfortable talking about the things they go through on a day-to-day basis without fear of judgment from those around them. It is my belief that in order to enact change, we must first begin with constructive dialogue. Through this dialogue, constructive actions can be taken to improve the quality of life for [people of colour] as a whole,” explains Asalu.
This residency can be the defining moment for many Black youths in Hamilton. Raising their voices, attending to their mental health and finding support in community are never-ending obstacles for black youth. The ability to express struggles and unbox silenced concerns while doing so is a grand goal that when realized makes a positive difference in a young person’s life.
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