Jeanette Lynes
Biography
Jeanette Lynes - Photo Courtesy of Deb Stagg
Jeanette Lynes is a poet, novelist, and editor. She has published six books of poetry: A Woman Alone on the Atikokan Highway (1999), Left Fields (2003), The Aging Cheerleader's Alphabet (2003), It's Hard Being Queen: The Dusty Springfield Poems(2008), The New Blue Distance (2009), and Archive of the Undressed (2012). She has also written a novel, The Factory Voice, published in 2009.
In addition to her writing, Lynes has also worked extensively as an editor, with a specific focus in Atlantic Canadian writing. As a result, she has also published anthologies and collections such as Words Out There: Women Poets in Atlantic Canada (1999) and The Crisp Day Closing on my Hand: The Poetry of M. Travis Lane (2007). Lynes has also won numerous writing prizes throughout her career, as she was the recipient of The Nick Blatchford Award for Occasional Verse, Co-Winner of the Ralph Gustafson Poetry Prize (2006), winner of the Bliss Carman Poetry Prize (2001), and placed first in Grain’s “Short Grain Contest” for Postcard Story in 2000 and for Dramatic Monologue in 2001.
Lynes received her M.A. from York University and her M.F.A. from the University of Southern Maine, before returning once more to York to complete her Ph.D. Former editor of The Antigonish Review, she is currently the Coordinator of the M.F.A. in Writing at the University of Saskatchewan.
In addition to her writing, Lynes has also worked extensively as an editor, with a specific focus in Atlantic Canadian writing. As a result, she has also published anthologies and collections such as Words Out There: Women Poets in Atlantic Canada (1999) and The Crisp Day Closing on my Hand: The Poetry of M. Travis Lane (2007). Lynes has also won numerous writing prizes throughout her career, as she was the recipient of The Nick Blatchford Award for Occasional Verse, Co-Winner of the Ralph Gustafson Poetry Prize (2006), winner of the Bliss Carman Poetry Prize (2001), and placed first in Grain’s “Short Grain Contest” for Postcard Story in 2000 and for Dramatic Monologue in 2001.
Lynes received her M.A. from York University and her M.F.A. from the University of Southern Maine, before returning once more to York to complete her Ph.D. Former editor of The Antigonish Review, she is currently the Coordinator of the M.F.A. in Writing at the University of Saskatchewan.
Additional Information:
Author's Personal Website
Author's Wikipedia page
It’s Hard Being Queen: The Dusty Springfield Collection
Live at Words Aloud 7 -- It's Hard Being Queen
Live at Words Aloud 7 -- A Woman Alone on the Atikokan Highway
Live at Words Aloud 7 -- The Factory Voice
“Riveting Rosie Returns”
Author's Personal Website
Author's Wikipedia page
It’s Hard Being Queen: The Dusty Springfield Collection
Live at Words Aloud 7 -- It's Hard Being Queen
Live at Words Aloud 7 -- A Woman Alone on the Atikokan Highway
Live at Words Aloud 7 -- The Factory Voice
“Riveting Rosie Returns”
It was instructive, they said,
If it made you sad.
—Larry Levis
My mother's most beloved trick: take a simple orange,
turn it into pure sorrow. She did this in the manner
of a spell, a story (the same story over, over). The dark
handkerchief of her words whisked away and presto--
the thirties, a girl whose teeth vibrated with ache, who
walked barefoot in snow or may as well have, soles
that tenuous. Who received in her Christmas sock
each year, only one orange. The story began here--
with her hand rolling its cool pebbled flesh across her cheek
in that farmhouse so bitter she could see her breath.
With her inhaling its sweet citrus rodeo, sketching it
with her last stubby crayon, for posterity. Telling her diary
about the sunny supple star from which it travelled.
Positioning her thumb in its softest point then stopping
to pray for strength to resist. Truth is, this was a girl's story
more than a saga of peasants rising, stoic,
from their hungers. After all, consider the inner world
of the orange—labial, lush, lost,
utterly lost at the first fissure in its pulpy stockade.
More fallen, even, than the common apple. All this
happened prior to me, making me the sequel
to the orange story—for what loveliness is not
torn open, in the end? So I arrived, the sad
document of a woman's defeat.
Published in The New Blue Distance (Wolsak and Wynn, 2009).
Used with permission of the author.
If it made you sad.
—Larry Levis
My mother's most beloved trick: take a simple orange,
turn it into pure sorrow. She did this in the manner
of a spell, a story (the same story over, over). The dark
handkerchief of her words whisked away and presto--
the thirties, a girl whose teeth vibrated with ache, who
walked barefoot in snow or may as well have, soles
that tenuous. Who received in her Christmas sock
each year, only one orange. The story began here--
with her hand rolling its cool pebbled flesh across her cheek
in that farmhouse so bitter she could see her breath.
With her inhaling its sweet citrus rodeo, sketching it
with her last stubby crayon, for posterity. Telling her diary
about the sunny supple star from which it travelled.
Positioning her thumb in its softest point then stopping
to pray for strength to resist. Truth is, this was a girl's story
more than a saga of peasants rising, stoic,
from their hungers. After all, consider the inner world
of the orange—labial, lush, lost,
utterly lost at the first fissure in its pulpy stockade.
More fallen, even, than the common apple. All this
happened prior to me, making me the sequel
to the orange story—for what loveliness is not
torn open, in the end? So I arrived, the sad
document of a woman's defeat.
Published in The New Blue Distance (Wolsak and Wynn, 2009).
Used with permission of the author.
Critical Analysis: Inheritance in Jeanette Lynes's "The Inner World of the Orange"
Kelsey Witherly and Patrick O'Reilly (for ENGL 3403: Canadian Poetry)
Jeanette Lynes's poem “The Inner World of the Orange,” taken from her 2009 collection The New Blue Distance, is a meditation on inheritance. It describes the speaker's mother, who would habitually recall her childhood in poverty, and, in particular, her unceremonious Christmases in which she would receive a single orange and “pray for the strength” (15) not to devour it at once. Lynes carries the anecdote beyond the cliché anti-nostalgia of previous generations, incorporating it into a larger discussion of how the poverty and sadness of one generation of women is reflected in the next.
The speaker begins by explaining that her mother was able to “take a simple orange / turn it into pure sorrow” (1-2), using the orange as a symbol for her entire childhood. This incorporation of colourful and descriptive language elevates a familiar tale of hardship into something magical and crucial, while also developing empathy for the speaker's mother and her poverty. She imagines the mother “sketching [the orange] / with her last stubby crayon, for posterity,” (13-14) a concrete image which perverts the normally happy act of colouring into something hungry and desperate.
There is a tone of exhaustion in the speaker's voice as she recounts her mother's recollections: “the same story over, over” she moans in line 3, having heard her mother's anecdote before. As the poem progresses, the speaker reveals that the story is in fact foundational, and its commonplace status and warm familiarity are important to her understanding of her own generation, as well as her mother's. She identifies herself as “the sequel” to the orange story (23), a story which, though unremarkable in its subject matter (17-18), becomes integral to her identity.
The meaning of Lynes's epigram (cribbed from Larry Levis's “Sleeping Lioness”) becomes clear: “It was instructive, they said / If it made you sad.” With her mother's onstantly reiterated narrative of deprivation in mind, the speaker is instructed in a particularly feminized sorrow. The poem continues with a flourish of maternal and feminine imagery, the orange described as “labial, lush, lost” (20), compared dishearteningly with a “fallen” apple (22). The implication of pregnancy and motherhood bears down on the speaker; she learns about herself from her mother's anecdote: all things cherished and protected are soon lost, destroyed, devoured.
This destruction entwines itself through the closing lines of the poem, as the speaker asks “what loveliness is not / torn open, in the end?” (23-24). Positioning herself as “the sad / document of a woman's defeat” (24-25), Lynes's speaker inherits her mother's distress.
Works Cited (for analysis):
Lynes, Jeanette. “The Inner World of the Orange.” The New Blue Distance. Hamilton: Wolsak and Wynn, 2009. 26.
Jeanette Lynes's poem “The Inner World of the Orange,” taken from her 2009 collection The New Blue Distance, is a meditation on inheritance. It describes the speaker's mother, who would habitually recall her childhood in poverty, and, in particular, her unceremonious Christmases in which she would receive a single orange and “pray for the strength” (15) not to devour it at once. Lynes carries the anecdote beyond the cliché anti-nostalgia of previous generations, incorporating it into a larger discussion of how the poverty and sadness of one generation of women is reflected in the next.
The speaker begins by explaining that her mother was able to “take a simple orange / turn it into pure sorrow” (1-2), using the orange as a symbol for her entire childhood. This incorporation of colourful and descriptive language elevates a familiar tale of hardship into something magical and crucial, while also developing empathy for the speaker's mother and her poverty. She imagines the mother “sketching [the orange] / with her last stubby crayon, for posterity,” (13-14) a concrete image which perverts the normally happy act of colouring into something hungry and desperate.
There is a tone of exhaustion in the speaker's voice as she recounts her mother's recollections: “the same story over, over” she moans in line 3, having heard her mother's anecdote before. As the poem progresses, the speaker reveals that the story is in fact foundational, and its commonplace status and warm familiarity are important to her understanding of her own generation, as well as her mother's. She identifies herself as “the sequel” to the orange story (23), a story which, though unremarkable in its subject matter (17-18), becomes integral to her identity.
The meaning of Lynes's epigram (cribbed from Larry Levis's “Sleeping Lioness”) becomes clear: “It was instructive, they said / If it made you sad.” With her mother's onstantly reiterated narrative of deprivation in mind, the speaker is instructed in a particularly feminized sorrow. The poem continues with a flourish of maternal and feminine imagery, the orange described as “labial, lush, lost” (20), compared dishearteningly with a “fallen” apple (22). The implication of pregnancy and motherhood bears down on the speaker; she learns about herself from her mother's anecdote: all things cherished and protected are soon lost, destroyed, devoured.
This destruction entwines itself through the closing lines of the poem, as the speaker asks “what loveliness is not / torn open, in the end?” (23-24). Positioning herself as “the sad / document of a woman's defeat” (24-25), Lynes's speaker inherits her mother's distress.
Works Cited (for analysis):
Lynes, Jeanette. “The Inner World of the Orange.” The New Blue Distance. Hamilton: Wolsak and Wynn, 2009. 26.
Bibliography
Primary Sources
Lynes, Jeanette. The Aging Cheerleader's Alphabet. Toronto: Mansfield Press, 2003.
---. “'A Purple Sort of Girl': Sheree Fitch's Tales of Emergence.” Canadian Children's Literature / Littérature Canadienne pour la Jeunesse 24.2 (Summer 1998): 28-37.
---. Archive of the Undressed: Poems. Hamilton: Wolsak And Wynn, 2012.
---. "Bat Reign." The Malahat Review 209 (Winter 2019): 53+.
---. "Book Review #3." Rev. of Celebrity Cultures in Canada by Katja Lee and Lorraine York, Hamilton Arts & Letters, halmagazine.wordpress.com, 29 Dec. 2017.
---. “Consumable Avonlea: The Commodification of the Green Gables Mythology.” Canadian Children's Literature/Littérature Canadienne pour la Jeunesse 91/92 (1998): 7-21.
---. “Consumable Avonlea: The Commodification of the Green Gables Mythology.” Making Avonlea: L.M. Montgomery and Popular Culture. Ed. Irene Gammel. Toronto: University of Toronto Press, 2002. 268-279.
---. "Diving into the Rock: Newfoundland Women Poets." Wascana Review of Contemporary Poetry and Short Fiction 29.1 (1994): 26-39.
---. “Elegaic, Worldly Eyes.” Canadian Literature 178 (Autumn 2003): 173.
---. The Factory Voice: A Novel. Regina: Coteau Books, 2009.
---. “Four Poems by Jeanette Lynes.” This Magazine (May/June 2005): n.p.
---. “George, Oasis of the Mind and of the Heart.” The Antigonish Review 149 (Spring 2007): 148.
---. Inglish Prof with Her Head in a Blender, Turned on High: A Chapbook. Maxville: Above/Ground Press, 2001.
---. “Is Newfoundland Inside that T.V.? Regionalism, Postmodernism, and Wayne Johnston's Human Amusements.” Textual Studies in Canada/Etudes Textuelles au Canada 9 (Spring 1997): 81-94.
---. It's Hard Being Queen: The Dusty Springfield Poems. Calgary: Freehand Books, 2008.
---. “Language Women.” Canadian Literature 132 (Spring 1992): 207.
---. Left Fields. Toronto: Wolsak and Wynn, 2003.
---. “Mad Tea-Parties.” Canadian Literature 144 (Spring 1995): 181.
---. "The Medium." Prairie Fire. 37.4 (2018): 27.
---. "Mull." Event 48.1 (Spring/Summer 2019): 25+.
---. “My Sartorial Ruin.” Keahy et al. 174-177.
---. The New Blue Distance. Hamilton: Wolsak and Wynn, 2009.
---. “New Year's Resolution, 1997.” The Madwoman in the Academy: 45 Women Boldly Take on the Ivory Tower. Ed. Deborah Keahy and Deborah Schnitzer. Calgary: U of Calgary P, 2003. 146.
---. “Poems.” Canadian Literature 166 (2000): 43. WorldCat.
---. "Séance, Winnipeg, 1928." Prairie Fire. 37.4 (2018): 26.
---. The Small Things that End the World. Regina: Coteau Books, 2018.
---. “Strangely Strung Beads: Wayne Johnston's Story of Bobby O'Malley.” Studies in Canadian Literature / Etudes en Littérature Canadienne 15.1 (1990): 140-153.
---. "Supernormal Canada." Prairie Fire. 37.4 (2018): 28.
---. “Troubling the Academy.” Rev. of Writing the Everyday: Women's Textual Communities in Atlantic Canada by Danielle Fuller. Canadian Literature 196 (Spring 2008) 153-156. LiteratureOnline.
---. "The Wrecker." Canadian Literature 166 (2000): 43.
---, and David Eso, eds. Where the Nights Are Twice As Long: Love Letters of Canadian Poets, 1883-2014. Fredericton: Goose Lane Editions, 2015.
--- and S.R. MacGillivray. “Of Shoes, and Ships, and Sealing Wax.” Canadian Children's Literature/Littérature Canadienne pour la Jeunesse 21.3 (Fall 1995): 76-78.
Primary Sources: Editor
Bowen, Gail. Sleuth. Regina: University of Regina Press, 2018. Writers on Writing 1, series ed. by Jeanette Lynes.
Eso, David, and Jeanette Lynes, eds. Where the Nights Are Twice as Long: Love Letters of Canadian Poets. Fredericton: Goose Lane, 2015.
Lane, Travis M.. The Crisp Day Closing on My Hand: The Poetry of M. Travis Lane. Ed. Jeanette Lynes. Waterloo: Wilfrid Laurier University Press, 2007.
Lynes, Jeanette, Ed. Words Out There: Women Poets in Atlantic Canada. Lockeport: Roseway, 1999.
Pottle, Adam. Voice. Regina: University of Regina Press, 2019. Writers on Writing 2, series ed. by Jeanette Lynes.
Wakewich, Pamela, Helen Smith, and Jeanette Lynes. “Women's Wartime Work and Identities: Women Workers at Canadian Car and Foundry Co. Limited, Fort William, Ontario, 1938-1945.” Framing Our Past: Canadian Women's History in the Twentieth Century. Eds. Sharon Anne Cook, Lorna R. McLean, and Kate O'Rourke. 409-416.
Wylie, Herb, and Jeanette Lynes. "Surf's Up! The Rising Tide of Atlantic-Canadian Literature." Surf's Up! The Rising Tide of Atlantic Canadian Literature. Eds. Herb Wyile and Jeanette Lynes. Spec. Issue of Studies in Canadian Literature 33.2 (2008): 5-22.
Secondary Sources
Khan, Tanisha. "Bat Invasion." Interview with Jeanette Lynes. The Malahat Review, web.uvic.ca.
L'Abbé, Sonnet. “Zoom In, Zoom Out.” Rev. of Clouds Without Heaven by Mary Cameron, all you expect of the road by Sue Nevill, A Woman Alone on the Atikokan Highway by Jeanette Lynes, and Facts by Bruce Taylor. Canadian Literature 176 (Spring 2003): 127-128.
Luhring, Holly. “Jeanette Lynes.” Ed. Christian Riegel. Twenty-First Century Canadian Writers. Detroit: Gale Cengage, 2007. 142-147. Dictionary of Literary Biography.
Marcus, Richard. "Book Review: The Small Things that End the World by Jeanette Lynes." BlogCritics, blogcritics.org, 12 Jun. 2018.
McRea, Christine. Rev. of The Small Things That End the World by Jeanette Lynes. Richmond News, richmond-news.com, 7 April 2019.
Pellegrino, Olivia. Rev. of Where the Nights Are Twice as Long: Love Letters of Canadian Poets by David Eso and Jeanette Lynes. University of Toronto Quarterly 86.3 (Summer 2017): 259-261.
Riess, Kelly-Anne. “The Problem with Beauty.” Rev. of The Aging Cheerleader's Alphabet by Jeanette Lynes. Canadian Literature 202 (2009): 119-120.
Robertson, BIll. "Harrowing tale also offers redemption." Rev. of The Small Things that End the World by Jeanette Lynes and Zara's Dead by Sharon Butala, Saskatoon StarPhoenix, thestarphoenix.com, 21 Jul. 2018.
Robertson, Michael. “From Blood to Ideas.” Rev. of By Word of Mouth: The Poetry of Dennis Cooley by Dennis Cooley, Ed. Nicole Markotic, The Crisp Day Closing on My Hand: The Poetry of M. Travis Lane by M. Travis Lane, ed. Jeanette Lynes, and All These Roads: The Poetry of Louis Dudek by Louis Dudek, ed. Karis Shearer. Canadian Literature 201 (Summer 2009): 150-154. LiteratureOnline.
Lynes, Jeanette. The Aging Cheerleader's Alphabet. Toronto: Mansfield Press, 2003.
---. “'A Purple Sort of Girl': Sheree Fitch's Tales of Emergence.” Canadian Children's Literature / Littérature Canadienne pour la Jeunesse 24.2 (Summer 1998): 28-37.
---. Archive of the Undressed: Poems. Hamilton: Wolsak And Wynn, 2012.
---. "Bat Reign." The Malahat Review 209 (Winter 2019): 53+.
---. "Book Review #3." Rev. of Celebrity Cultures in Canada by Katja Lee and Lorraine York, Hamilton Arts & Letters, halmagazine.wordpress.com, 29 Dec. 2017.
---. “Consumable Avonlea: The Commodification of the Green Gables Mythology.” Canadian Children's Literature/Littérature Canadienne pour la Jeunesse 91/92 (1998): 7-21.
---. “Consumable Avonlea: The Commodification of the Green Gables Mythology.” Making Avonlea: L.M. Montgomery and Popular Culture. Ed. Irene Gammel. Toronto: University of Toronto Press, 2002. 268-279.
---. "Diving into the Rock: Newfoundland Women Poets." Wascana Review of Contemporary Poetry and Short Fiction 29.1 (1994): 26-39.
---. “Elegaic, Worldly Eyes.” Canadian Literature 178 (Autumn 2003): 173.
---. The Factory Voice: A Novel. Regina: Coteau Books, 2009.
---. “Four Poems by Jeanette Lynes.” This Magazine (May/June 2005): n.p.
---. “George, Oasis of the Mind and of the Heart.” The Antigonish Review 149 (Spring 2007): 148.
---. Inglish Prof with Her Head in a Blender, Turned on High: A Chapbook. Maxville: Above/Ground Press, 2001.
---. “Is Newfoundland Inside that T.V.? Regionalism, Postmodernism, and Wayne Johnston's Human Amusements.” Textual Studies in Canada/Etudes Textuelles au Canada 9 (Spring 1997): 81-94.
---. It's Hard Being Queen: The Dusty Springfield Poems. Calgary: Freehand Books, 2008.
---. “Language Women.” Canadian Literature 132 (Spring 1992): 207.
---. Left Fields. Toronto: Wolsak and Wynn, 2003.
---. “Mad Tea-Parties.” Canadian Literature 144 (Spring 1995): 181.
---. "The Medium." Prairie Fire. 37.4 (2018): 27.
---. "Mull." Event 48.1 (Spring/Summer 2019): 25+.
---. “My Sartorial Ruin.” Keahy et al. 174-177.
---. The New Blue Distance. Hamilton: Wolsak and Wynn, 2009.
---. “New Year's Resolution, 1997.” The Madwoman in the Academy: 45 Women Boldly Take on the Ivory Tower. Ed. Deborah Keahy and Deborah Schnitzer. Calgary: U of Calgary P, 2003. 146.
---. “Poems.” Canadian Literature 166 (2000): 43. WorldCat.
---. "Séance, Winnipeg, 1928." Prairie Fire. 37.4 (2018): 26.
---. The Small Things that End the World. Regina: Coteau Books, 2018.
---. “Strangely Strung Beads: Wayne Johnston's Story of Bobby O'Malley.” Studies in Canadian Literature / Etudes en Littérature Canadienne 15.1 (1990): 140-153.
---. "Supernormal Canada." Prairie Fire. 37.4 (2018): 28.
---. “Troubling the Academy.” Rev. of Writing the Everyday: Women's Textual Communities in Atlantic Canada by Danielle Fuller. Canadian Literature 196 (Spring 2008) 153-156. LiteratureOnline.
---. "The Wrecker." Canadian Literature 166 (2000): 43.
---, and David Eso, eds. Where the Nights Are Twice As Long: Love Letters of Canadian Poets, 1883-2014. Fredericton: Goose Lane Editions, 2015.
--- and S.R. MacGillivray. “Of Shoes, and Ships, and Sealing Wax.” Canadian Children's Literature/Littérature Canadienne pour la Jeunesse 21.3 (Fall 1995): 76-78.
Primary Sources: Editor
Bowen, Gail. Sleuth. Regina: University of Regina Press, 2018. Writers on Writing 1, series ed. by Jeanette Lynes.
Eso, David, and Jeanette Lynes, eds. Where the Nights Are Twice as Long: Love Letters of Canadian Poets. Fredericton: Goose Lane, 2015.
Lane, Travis M.. The Crisp Day Closing on My Hand: The Poetry of M. Travis Lane. Ed. Jeanette Lynes. Waterloo: Wilfrid Laurier University Press, 2007.
Lynes, Jeanette, Ed. Words Out There: Women Poets in Atlantic Canada. Lockeport: Roseway, 1999.
Pottle, Adam. Voice. Regina: University of Regina Press, 2019. Writers on Writing 2, series ed. by Jeanette Lynes.
Wakewich, Pamela, Helen Smith, and Jeanette Lynes. “Women's Wartime Work and Identities: Women Workers at Canadian Car and Foundry Co. Limited, Fort William, Ontario, 1938-1945.” Framing Our Past: Canadian Women's History in the Twentieth Century. Eds. Sharon Anne Cook, Lorna R. McLean, and Kate O'Rourke. 409-416.
Wylie, Herb, and Jeanette Lynes. "Surf's Up! The Rising Tide of Atlantic-Canadian Literature." Surf's Up! The Rising Tide of Atlantic Canadian Literature. Eds. Herb Wyile and Jeanette Lynes. Spec. Issue of Studies in Canadian Literature 33.2 (2008): 5-22.
Secondary Sources
Khan, Tanisha. "Bat Invasion." Interview with Jeanette Lynes. The Malahat Review, web.uvic.ca.
L'Abbé, Sonnet. “Zoom In, Zoom Out.” Rev. of Clouds Without Heaven by Mary Cameron, all you expect of the road by Sue Nevill, A Woman Alone on the Atikokan Highway by Jeanette Lynes, and Facts by Bruce Taylor. Canadian Literature 176 (Spring 2003): 127-128.
Luhring, Holly. “Jeanette Lynes.” Ed. Christian Riegel. Twenty-First Century Canadian Writers. Detroit: Gale Cengage, 2007. 142-147. Dictionary of Literary Biography.
Marcus, Richard. "Book Review: The Small Things that End the World by Jeanette Lynes." BlogCritics, blogcritics.org, 12 Jun. 2018.
McRea, Christine. Rev. of The Small Things That End the World by Jeanette Lynes. Richmond News, richmond-news.com, 7 April 2019.
Pellegrino, Olivia. Rev. of Where the Nights Are Twice as Long: Love Letters of Canadian Poets by David Eso and Jeanette Lynes. University of Toronto Quarterly 86.3 (Summer 2017): 259-261.
Riess, Kelly-Anne. “The Problem with Beauty.” Rev. of The Aging Cheerleader's Alphabet by Jeanette Lynes. Canadian Literature 202 (2009): 119-120.
Robertson, BIll. "Harrowing tale also offers redemption." Rev. of The Small Things that End the World by Jeanette Lynes and Zara's Dead by Sharon Butala, Saskatoon StarPhoenix, thestarphoenix.com, 21 Jul. 2018.
Robertson, Michael. “From Blood to Ideas.” Rev. of By Word of Mouth: The Poetry of Dennis Cooley by Dennis Cooley, Ed. Nicole Markotic, The Crisp Day Closing on My Hand: The Poetry of M. Travis Lane by M. Travis Lane, ed. Jeanette Lynes, and All These Roads: The Poetry of Louis Dudek by Louis Dudek, ed. Karis Shearer. Canadian Literature 201 (Summer 2009): 150-154. LiteratureOnline.
