Find out how writers think
Blood is Blood: The Making of a Two-Voice Poem
Endre Farkas: We both had a desire to create, contribute to and engage our community — the writing community not the familial/cultural/religious one. Our earliest collaborations involved moving poetry off the page. In 2004, for National Poetry Month, we put the poems of twenty Quebec poets on 1,600 Montreal buses. It was wonderful to see poetry crisscrossing the city. We even had a poem-spotting contest ...
An interview with Michelle Elrick
In 2009 CV2 collaborated with The Muses' Company to hold a new contest called "Show Me the Book." Michelle Elrick's manuscript To Speak won First Prize in that contest. Part of the prize was a feature interview in CV2, excerpted below.
Clarise Foster: In 2009, CV2 decided to hold a new kind of contest. We partnered up with The Muses’ Company — where I am the poetry editor — and “Show Me the Book” was ...
An interview with Richard Osler
In 2009 CV2 collaborated with The Muses' Company to hold a new contest called "Show Me the Book." Richard Osler won Second Prize in that contest. Part of the prize was a feature interview in CV2, excerpted below.
Clarise Foster: It is interesting to me that you have actually made a career of poetry — from your website I understand that you offer poetry workshops, often with a therapeutic emphasis. What ...
An Interview with Michael Trussler
CS: Here’s a craft-bound question, Lyric Poet. There are two devices you use that are rarely deployed outside avant-garde texts. One is actually setting down within lines the slash; the other is a line broken over a section break. These bold manoeuvres work for me, but in ways I find difficult to quantify. What might be their intended effects, and what led you to decide on them?
MT: Bold? I wish. When ...
An Interview with Elizabeth Bachinsky
CF: In this issue of CV2 we are exploring what might lay at the “root of voice;” influences such as culture, life experiences, geography, interests. I realize to talk about where writing comes from is not always an easy thing to pinpoint, and that it can change, but at this point in your career what would you say is “at the root of your voice”?
EB: I write, primarily, to please myself, so the voices in ...
An Interview with Tom Wayman
Sharon Caseburg: A few years back you edited The Dominion of Love: An Anthology of Canadian Love Poems (Harbour Publishing, 2001). It proved immensely popular, necessitating a second print run soon after—what is it about love that draws people to write (and read) about it?
Tom Wayman: The Romantic era in English-language poetry— poetry as "the spontaneous overflow of powerful feelings," as Wordsworth ...
An Interview with Jim Nason
Clarise Foster: The Fist of Remembering, published by Wolsak and Wynn in 2006, is your second collection of poetry. If Lips Were as Red, published in 1991 by Palmerston Press, was your first. What was publishing your first collection of poetry like in comparison to your second? What was the inspiration behind If Lips Were as Red, which is a very intriguing title?
Jim Nason: I attended York University ...
An Interview with Jan Conn
Sharon Caseburg: In addition to being an award-winning poet, you are also a research scientist and geneticist. Given your varied subject matter and the execution of many of your poems, you obviously see a relationship between science and poetry. How do you define this relationship?
Jan Conn: I am a very visual thinker, so I think of a Venn diagram (two overlapping circles), with areas outside the overlap ...
An Interview with Steve McOrmond
Sharon Caseburg: Your first collection of poetry Lean Days (Wolsak and Wynn, 2004) was shortlisted for the Gerald Lampert Memorial Award. What kinds of pressures did you feel in working on Primer on the Hereafter?
Steve McOrmond: Any pressures I felt were more internal than external. When I sit down before a blank page, I feel the presence of all the poets who have gone before. When you’re engaged in ...
An Interview with Charlene Diehl
Clarise Foster: Does working in the medium of music change your expectations of what or how you write a poem?
Charlene Diehl: I suspect I’m like a lot of other writers in that I’m often impatient with my own voice. One of the qualities that has irritated me is a certain tidiness (I can hear my friends laughing) which really interferes with the emotional charge I’m interested in getting at. To me, a ...