Liliane Welch
Biography
Liliane Welch - Photo Courtesy of Cyril Welch
Liliane Welch was born in Esch-sur-Alzette, Luxembourg in 1937. She travelled to California as an exchange student in the late 1950s. Welch attended the University of Montana for her Bachelor of Arts Degree, and Pennsylvania State University for her PhD, which she completed in 1964. She moved to Sackville, New Brunswick in 1967 and worked as a professor of French Studies at Mount Allison University until she retired in 2004. Dr. Welch passed away in September 2010.
Welch’s publications include over 20 works of poetry, the essay collection Seismographs, and the prose work Frescoes: Travel Pieces (1998). She also co-authored two essay collections on French poetry with her husband Cyril Welch: Emergence: Baudelaire, Mallarmé, Rimbaud (1974), and Address: Rimbaud, Mallarmé, Butor (1979). Other writers she took inspiration from include Dante Alighieri, Emily Dickinson, and Walt Whitman. She exalts these influential writers in her poetry collection This Numinous Bond (2003). As a Canadian immigrant, Welch provides her perspective on cold New Brunswick winters in her chapbook Winter Songs (1977).
Welch’s publications include over 20 works of poetry, the essay collection Seismographs, and the prose work Frescoes: Travel Pieces (1998). She also co-authored two essay collections on French poetry with her husband Cyril Welch: Emergence: Baudelaire, Mallarmé, Rimbaud (1974), and Address: Rimbaud, Mallarmé, Butor (1979). Other writers she took inspiration from include Dante Alighieri, Emily Dickinson, and Walt Whitman. She exalts these influential writers in her poetry collection This Numinous Bond (2003). As a Canadian immigrant, Welch provides her perspective on cold New Brunswick winters in her chapbook Winter Songs (1977).
Goosedown arms
raised against
the north wind –
winter crackles
in our walls.
Snow withers
the stars' track:
frozen dance.
All is blue cold
down to the pink
paperbirch skin.
We chop maple trunks
for evening fires
in our woodstove
and quiver
under heavy blankets,
inward dawns.
Published in Canadian Literature, no. 93, 1982.
Republished here with Cyril Welch’s permission.
raised against
the north wind –
winter crackles
in our walls.
Snow withers
the stars' track:
frozen dance.
All is blue cold
down to the pink
paperbirch skin.
We chop maple trunks
for evening fires
in our woodstove
and quiver
under heavy blankets,
inward dawns.
Published in Canadian Literature, no. 93, 1982.
Republished here with Cyril Welch’s permission.
Critical Analysis: Winter Crackles
Caelin Sullivan (English 3103: Advanced Poetry Workshop)
Liliane Welch’s “Winter” describes a harsh Canadian winter in a way that captures the poetic beauty of the wintertime, as well as the difficulty of living in a cold environment. The choice of the verbs “crackles” and “withers,” and the adjective “frozen,” are words that invoke movement: a slowness to a stillness, a subject penetrated by the cold to make their very movements cold. The narrator describes winter in terms of stillness as opposition.
Welch employs double meaning in her vocabulary. “Goosedown arms” can refer to arms covered in a goosedown coat. However, the word “raised” also implies that the down (hair) on the subject’s arms is raised from goosebumps caused by the cold. While the surface meaning of a goosedown jacket indicates protection from the cold, the alternative interpretation of goosebumps shows vulnerability to the cold. This vulnerability is supported later in the poem: “and quiver/ under heavy blankets, / inward dawns” (ll. 15-17). Quivering under heavy blankets, as well as the strong physicality of chopping “maple trunks / for evening fires” (ll. 12-13), show the activity required for the subject to counteract the cold winter’s stilling. The subject takes conscious active measures by chopping the wood, but the subject’s body takes unconscious reflexive measures by quivering to keep warm.
Welch uses harsh language to describe the cold. The word “crackles” has hard “r” and “ck” sounds which convey this harshness through sound (l. 4). The word’s movement mimics the sound itself with onomatopoeia. As well, “crackles” implies dryness or heat, whereas Welch uses the word to describe the cold. This also demonstrates skin cracking in the winter and resonates with later harsh and cold imagery: “All is blue cold / down to the pink / paperbirch skin” (ll. 9-11).
Describing the cold as “blue” indicates both temperature and low mood. The sun does not often appear during New Brunswick winters, and this lack takes its toll mentally and physically – one’s lips being numbed by the cold and turning blue. The image of pink paperbirch indicates harshness through the harsh sounds of “nk” and “perbirch,” as well as through the imagery this phrase provokes: raw skin the texture of birch tree paper, which is very dry and brittle. Raw, flaking skin is caused by the harsh winds and cold temperatures of New Brunswick winters. Welch emphasizes this phrase through alliteration by repeating the letter “p” at the beginning of both words. Welch also employs alliteration of the letter “a” in the phrase “arms raised against,” and of the letter “w” in the lines “the north wind — / winter crackles / in our walls. / Snow withers” (ll. 3-6). This technique draws attention the winter’s effects: it works through the wind, the winter itself penetrates the home, and the snow withers away at either the home or the self, as skin takes on a paper birch colour and texture.
Line breaks also play an important role in this poem:
the north wind –
winter crackles
in our walls.
Snow withers
the stars' track:
frozen dance. (Welch ll. 3-8)
These lines use an effective combination of end stops and enjambment. The enjambed lines have the effect of both adding double meanings to the poem and urging the reader ahead to absorb what is going to come next. One reads “winter crackles” as a descriptor of the season itself, but the added meaning of “in our walls” forces the reader to think about the effect of winter on both the house and the body itself. Nouns following verbs, such as “Snow withers,” creates an abstract image in the reader’s mind of the snow doing the act of withering, which is immediately followed by the added meaning of what the snow is acting upon, in this case “the stars’ track.” Without the enjambed lines’ interconnected meaning, the beautiful image of the snow streaking across the sky and covering the stars from the subject’s view would not as effectively convey the sense of the loneliness, bleakness, and harshness of New Brunswick winter. The final lines of the poem, “under heavy blankets / inward dawns” (ll. 16-17), hammers home the heaviness of this harsh winter and its weight on the narrator, the physical weight of this blanket that the narrator needs in order to keep warm, and the mental weight of waiting for this inward dawn of fire to heat both the body and the home.
Works Cited (for analysis):
Welch, Liliane. “Winter.” Canadian Literature, no. 93, 1982, p. 107.
Liliane Welch’s “Winter” describes a harsh Canadian winter in a way that captures the poetic beauty of the wintertime, as well as the difficulty of living in a cold environment. The choice of the verbs “crackles” and “withers,” and the adjective “frozen,” are words that invoke movement: a slowness to a stillness, a subject penetrated by the cold to make their very movements cold. The narrator describes winter in terms of stillness as opposition.
Welch employs double meaning in her vocabulary. “Goosedown arms” can refer to arms covered in a goosedown coat. However, the word “raised” also implies that the down (hair) on the subject’s arms is raised from goosebumps caused by the cold. While the surface meaning of a goosedown jacket indicates protection from the cold, the alternative interpretation of goosebumps shows vulnerability to the cold. This vulnerability is supported later in the poem: “and quiver/ under heavy blankets, / inward dawns” (ll. 15-17). Quivering under heavy blankets, as well as the strong physicality of chopping “maple trunks / for evening fires” (ll. 12-13), show the activity required for the subject to counteract the cold winter’s stilling. The subject takes conscious active measures by chopping the wood, but the subject’s body takes unconscious reflexive measures by quivering to keep warm.
Welch uses harsh language to describe the cold. The word “crackles” has hard “r” and “ck” sounds which convey this harshness through sound (l. 4). The word’s movement mimics the sound itself with onomatopoeia. As well, “crackles” implies dryness or heat, whereas Welch uses the word to describe the cold. This also demonstrates skin cracking in the winter and resonates with later harsh and cold imagery: “All is blue cold / down to the pink / paperbirch skin” (ll. 9-11).
Describing the cold as “blue” indicates both temperature and low mood. The sun does not often appear during New Brunswick winters, and this lack takes its toll mentally and physically – one’s lips being numbed by the cold and turning blue. The image of pink paperbirch indicates harshness through the harsh sounds of “nk” and “perbirch,” as well as through the imagery this phrase provokes: raw skin the texture of birch tree paper, which is very dry and brittle. Raw, flaking skin is caused by the harsh winds and cold temperatures of New Brunswick winters. Welch emphasizes this phrase through alliteration by repeating the letter “p” at the beginning of both words. Welch also employs alliteration of the letter “a” in the phrase “arms raised against,” and of the letter “w” in the lines “the north wind — / winter crackles / in our walls. / Snow withers” (ll. 3-6). This technique draws attention the winter’s effects: it works through the wind, the winter itself penetrates the home, and the snow withers away at either the home or the self, as skin takes on a paper birch colour and texture.
Line breaks also play an important role in this poem:
the north wind –
winter crackles
in our walls.
Snow withers
the stars' track:
frozen dance. (Welch ll. 3-8)
These lines use an effective combination of end stops and enjambment. The enjambed lines have the effect of both adding double meanings to the poem and urging the reader ahead to absorb what is going to come next. One reads “winter crackles” as a descriptor of the season itself, but the added meaning of “in our walls” forces the reader to think about the effect of winter on both the house and the body itself. Nouns following verbs, such as “Snow withers,” creates an abstract image in the reader’s mind of the snow doing the act of withering, which is immediately followed by the added meaning of what the snow is acting upon, in this case “the stars’ track.” Without the enjambed lines’ interconnected meaning, the beautiful image of the snow streaking across the sky and covering the stars from the subject’s view would not as effectively convey the sense of the loneliness, bleakness, and harshness of New Brunswick winter. The final lines of the poem, “under heavy blankets / inward dawns” (ll. 16-17), hammers home the heaviness of this harsh winter and its weight on the narrator, the physical weight of this blanket that the narrator needs in order to keep warm, and the mental weight of waiting for this inward dawn of fire to heat both the body and the home.
Works Cited (for analysis):
Welch, Liliane. “Winter.” Canadian Literature, no. 93, 1982, p. 107.
Bibliography
Primary Sources: Poetry
Welch, Liliane. “A Life.” Windsor Review 33.1 (Spring 2000): 93. Print.
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---. A Taste for Words. Saint John: Purple Wednesday Society, 1987. Print.
---. Brush and Trunks. Fredericton: Fiddlehead Poetry Books, 1981. Print.
---. “Calligraphy of a Maritime Kitchen.” Full Moon. Ed. by Janice LaDuke and Steve Luxton. Dunvegan: Quadrant Editions, 1983. 187. Print.
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---. “Winter Morning.” Prairie Schooner 67.4 (Winter 1993): 150. Print.
---. Winter Songs. London: Kilally Press, 1977. Print.
---. Word-House of a Grandchild. Charlottetown: Ragweed, 1987. Print.
Primary Sources: Prose, Non-fiction, and Essays
Welch, Liliane. “Baudelaire: Literary Criticism and the Advent of Technology.” The Bulletin of the Midwest Modern Language Association 5.2 (1972): 46-54. Print.
---. Frescoes: Travel Pieces. Ottawa: Borealis, 1998. Print.
---. “Grandparents: A Fragment.” Ricordi: Things Remembered. Ed. by C.D. Minni, Montreal: Guernica, 1989. 59-64. Print.
---. “His Last Visit.” The Anthology of Italian-Canadian Writing. Ed. by Joseph Pivato, Montreal: Guernica, 1998. 179-199. Print.
---. “Mallarmé and the Experience of Art.” The Journal of Aesthetics & Art Criticism 30.3 (Spring 1972): 369-375. Print.
---. “On Reading Poetry to Others.” Choice Atlantic. Ed. by Elaine Crocker, Eric Norman, and Michael Nowlan, St. John’s: Breakwater, 1990. 171-173. Print.
---. Rev. of Aesthetishce Erfahrung und literarische Hermeneutik. Band I: Versuche im Feld der aesthetischen Erfahrung by Hans Robert Jauss. The Journal of Aesthetics & Art Criticism 37.3 (March 1979): 363-365. Print.
---. Rev. of Benjamin Péret by J. H. Matthews. The Modern Language Journal 61.5/6 (September/October 1977): 306. Print.
---. Rev. of Die nicht mehr schönen Künste: Grezphänomene des Ästhetischen ed. by H. R. Jauss. The Journal of Aesthetics and Art Criticism 28.4 (Summer 1970): 548. Print.
---. Rev. of Entre Moi et Moi: Essais critiques sur la conscience de soi by Georges Poulet. The Modern Language Journal 62.7 (November 1978): 371. Print.
---. Rev. of Eros et Logos: Esquisse de phénoménologie de l'intériorité créatrice, Illustrée par les textes poétiques de Paul Valéry by A. -T. Tymieniecka. The Journal of Aesthetics and Art Criticism 32.2 (Winter 1973): 279-280. Print.
---. Rev. of Getting the Housework Done for the Dance by Libby Oughton. Atlantis 13.2 (Spring 1988): 145. Print.
---. Rev. of Hermeneutics, Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer by Richard E. Palmer. The Journal of Aesthetics and Art Criticism 30.2 (Winter 1971): 260-262. Print.
---. Rev. of Hölderlins Wille zur Tragödie by Klaus-Rüdiger Wöhrmann. The Journal of Aesthetics and Art Criticism 28.1 (Autumn 1969): 110-111. Print.
---. Rev. of Kleine Schriften by Hans-Georg Gadamer. The Journal of Aesthetics and Art Criticism 28.4 (Summer 1970): 545-546. Print.
---. Rev. of L'Absolu et la Forme: L'esthétique d'André Malraux by Stefan Morawski, trans. by Yolande Lamy-Grum. The Journal of Aesthetics and Art Criticism 32.3 (Spring 1974): 427. Print.
---. Rev. of La Connaissance de l'individuel et la logique du realisme by Jean-Claude Piguet. The Journal of Aesthetics and Art Criticism 35.2 (December 1976): 236. Print.
---. Rev. of Les Mots sous les mots: Les Anagrammes de Ferdinand de Saussure by Jean Starobinski. The Journal of Aesthetics and Art Criticism 31.3 (Spring 1973): 412-414. Print.
---. Rev. of Man's New Shapes: French Avant-Garde Drama's Metamorphoses by Kenneth Steele White. Modern Drama 23.1 (1980): 85-87. Print.
---. Rev. of Mythologies by Roland Barthes, trans. by Annette Lavers. The Journal of Aesthetics & Art Criticism 31.4 (Summer 1973): 563-564. Print.
---. Rev. of Order and Adventure in Post-Romantic Poetry by E. M. Beaumont, J. M. Cocking, and J. Cruickshank. The Modern Language Journal 58.5/6 (September/October 1974): 277. Print.
---. Rev. of Perpetuum Mobile: A Study of the Novels and Aesthetics of Michel Butor by Mary Lydon. Philosophy and Literature 6.1/2 (Fall 1982): 211-212. Print.
---. Rev. of Pour une esthétique de l'essai by Robert Champigny. The Journal of Aesthetics and Art Criticism 28.1 (Autumn 1969): 102-103. Print.
---. Rev. of Recherches Poïétiques I. The Journal of Aesthetics & Art Criticism 34.3 (March 1976): 359-360. Print.
---. Rev. of Sartre's Theory of Literature by Christina Howells. The Journal of Aesthetics & Art Criticism 39.3 (March 1981): 351-352. Print.
---. Rev. of Sartre: Un Film réalisé par Alexandre Astruc et Michel Contat. The Journal of Aesthetics & Art Criticism 36.4 (June 1978): 503-505. Print.
---. Rev. of Savage Comedy since King Ubu: A Tangent to “The Absurd” by Kenneth Steele White. The Journal of Aesthetics & Art Criticism 36.1 (September 1977): 114-115. Print.
---. Rev. of Sensibility and Creation: Studies in Twentieth Century French Poetry by Roger Cardinal. The Modern Language Journal 62.4 (April 1978): 204. Print.
---. Rev. of Sinne und Sinnesverknüpfungen by Ludwig Schrader. The Journal of Aesthetics & Art Criticism 29.4 (Summer 1971): 545-547. Print.
---. Rev. of Terror und Spiel: Probleme der Mythenrezeption ed. by Manfred Fuhrmann. The Journal of Aesthetics and Art Criticism 31.3 (Spring 1973): 415-417. Print.
---. Rev. of The Appreciation of Modern French Poetry by Peter Broome and Graham Chesters. The Modern Language Journal 61.5/6 (September/October 1977): 298-299. Print.
---. Rev. of The Road from Paris: French Influence on English Poetry, 1900-1920 by Cyrena M. Pondrom. The Modern Language Journal 59.1/2 (January/February 1975): 75. Print.
---. Rev. of Three Modes of Criticism: The Literary Theories of Scherer, Walzel, and Staiger by Peter Salm. The Journal of Aesthetics and Art Criticism 28.3 (Spring 1970): 392-393. Print.
---. Seismographs: Selected Essays and Reviews. Ed. by Richard Lemm, Charlottetown: Ragweed, 1988. Print.
---, and Cyril Welch. “Reading Poetry and Philosophy: The Case of Michel Butor.” Man and World 11.3/4 (September 1978): 350-371. Print.
---. Rev. of Poetry, Language, Though by Martin Heidegger and On the Way to Language by Martin Heidegger. The Journal of Aesthetics and Art Criticism 31.1 (Autumn 1972): 117-123. Print.
Secondary Sources
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Baker, Janet. Rev. of Seismographs by Liliane Welch. The Atlantic Provinces Book Review 16.2 (June 1989): 12. Print.
Bell, Andrea. “Liliane Welch.” New Brunswick Literary Encyclopedia, stu-sites.ca, 2008. Web. 7 Aug. 2020.
Betz, Dorothy M. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. The French Review 55.5 (April 1982): 685-686. Print.
Bouraoui, Hédi. “Liliane Welch: A New Voice from the Maritimes.” Essays on Canadian Writing 31 (Summer 1985): 240-250. Print.
Brewer, Mária Minich. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. Philosophy and Literature 5.1 (Spring 1981): 121-122. Print.
Burke, Anne. Rev. of Word-House of Grandchild. Poetry Canada Review 10.2 (Summer 1989): 42-45. Print.
Chlebek, Diana. “Canada: Compiled and Introduced.” The Journal of Commonwealth Literature 46.4 (December 2011): 573-601. Print.
Cocking, J. M. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. French Studies 38.3 (July 1984): 359. Print.
Collier, Peter. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. The Modern Language Review 76.2 (April 1981): 474-475. Print.
Compton, Anne. “Ascension: Liliane Welch Talks About Poetry.” Interview with Liliane Welch. Canadian Literature 166 (2000): 127-141. Print.
---. “Ascension: Liliane Welch Talks About Poetry.” Interview with Liliane Welch. Meetings with Maritime Poets. Markham: Fitzhenry and Whiteside, 2006. 51-66. Print.
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Drodge, Susan. “Trusting in Movement.” Rev. of Dream Museum by Liliane Welch, Wading the Trout River by Carolyn Zonailo, Autobiography by Marilyn Bowering, Debriefing the Rose by Mary di Michele, and Garden of Sculpture by Elizabeth Brewster. Canadian Literature 165 (Summer 2000): 122-125. Print.
Estok, Michael. “Family Ties.” Rev. of My Diary of Earth by Gregory M. Cook, Hong Kong Poems by Gary Geddes, Tough Roots by Jean McCallion, The Ballad of Isobel Gunn by Steven Scobie, and Word-House of a Grandchild by Liliane Welch. The Fiddlehead 158 (Winter 1988): 106-114. Print.
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Harry, Margaret. Rev. of Fire to the Looms Below by Liliane Welch. The Atlantic Provinces Book Review 17.3 (September/October 1990): 4. Print.
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Kuropatwa, Joy. “(Dis)continuity.” Rev. of Life, Love & Onions by Helen Potrebenko, and Word-House of a Grandchild by Liliane Welch. Canadian Literature 120 (Spring 1989): 160-161. Print.
LaDuke, Janice, and Steve Luxton. “Liliane Welch.” Full Moon. Dunvegan: Quadrant Editions, 1983. 183. Print.
Lane, M. Travis. “Self Voyages.” Rev. of Brush and Trunks by Liliane Welch, Wake-Pick Poems by Kristjana Gunnars, and Voyages by T. D. MacLulich. Canadian Literature 95 (1982): 154-156. Print.
Lynes, Jeanette. “Liliane Welch’s Fidelities.” Interview with Liliane Welch. Words Out There. Lockeport: Roseway Publishing, 1999. 111-116. Print.
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Smith, E. Russell. “A Passionate Observer.” Rev. of The Rock’s Stillness by Liliane Welch. The Fiddlehead 205 (Autumn 2000): 112. Print.
---. Rev. of Dispensing Grace by Liliane Welch. Arc 55 (Winter 2005): 125-127. Print.
---. Rev. of Unlearning Ice by Liliane Welch. The Antigonish Review 129 (Spring 2002): 83-85. Print.
Vandervlist, Harry. “Climbing as Thinking and Writing: The Cheirographic Poetry of Liliane Welch.” Mountains Figured and Disfigured in the English-Speaking World. Ed. by Françoise Besson, Newcastle upon Tyne: Cambridge Scholars Publishing, 2010. 405-412. Print.
Wolfzettel, Friedrich. Rev. of Michel Butor: A Checklist by Barbara Mason, Intentionality and Intersubjectivity: A Phenomenological Study of Butor’s La Modification by Lois Oppenheim, and Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. Romanische Forschungen 96.3 (January 1984): 364-370. Print.
Welch, Liliane. “A Life.” Windsor Review 33.1 (Spring 2000): 93. Print.
---. Anticipating the Day. Ottawa: Borealis, 2007. Print.
---. Assailing Beats. Ottawa: Borealis, 1979. Print.
---. A Taste for Words. Saint John: Purple Wednesday Society, 1987. Print.
---. Brush and Trunks. Fredericton: Fiddlehead Poetry Books, 1981. Print.
---. “Calligraphy of a Maritime Kitchen.” Full Moon. Ed. by Janice LaDuke and Steve Luxton. Dunvegan: Quadrant Editions, 1983. 187. Print.
---. “Claude Monet’s Water Landscapes.” Coastlines: The Poetry of Atlantic Canada. Ed. by Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath, Fredericton: Goose Lane Editions, 2002. 92-93. Print.
---. “Common Ground.” Prairie Schooner 67.4 (Winter 1993): 148-149. Print.
---. Crossings. Ottawa: Borealis, 2010. Print.
---. “December 1972: First Winter Ascension of the Sass Maor.” Coastlines: The Poetry of Atlantic Canada. Ed. by Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath, Fredericton: Goose Lane Editions, 2002. 93. Print.
---. “Dikes on Fundy Bay.” Coastlines: The Poetry of Atlantic Canada. Ed. by Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath, Fredericton: Goose Lane Editions, 2002. 94. Print.
---. Dispensing Grace. Ottawa: Borealis, 2005. Print.
---. Dream Museum. Victoria: Sono Nis, 1995. Print.
---. “Farmer’s Wife and C.B.” Full Moon. Ed. by Janice LaDuke and Steve Luxton. Dunvegan: Quadrant Editions, 1983. 188. Print.
---. Fidelities. Ottawa: Borealis, 1998. Print.
---. Fire to the Looms Below. Charlottetown: Ragweed, 1990. Print.
---. “For Don Coles.” Arc 50 (Summer 2003): 79. Print.
---. From the Songs of the Artisans. Fredericton: Fiddlehead Poetry Books, 1983. Print.
---. Gathered in Memory’s Hand. Ottawa: Borealis, 2006. Print.
---. “Healers.” Full Moon. Ed. by Janice LaDuke and Steve Luxton. Dunvegan: Quadrant Editions, 1983. 184-186. Print.
---. “Her Cats.” Canadian Literature 101 (Summer 1984): 14. Print.
---. “Heresies.” The Fiddlehead 185 (1995): 188. Print.
---. “Holy Women.” The Fiddlehead 217 (Fall 2003): 93-94. Print.
---. “Impressions of Vianden, 1992.” The Fiddlehead 181 (Autumn 1984): 86. Print.
---. “In Cézanne’s studio, we dappled with joy.” Coastlines: The Poetry of Atlantic Canada. Ed. by Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath, Fredericton: Goose Lane Editions, 2002. 92. Print.
---. “Laundry-day at Mecher.” Windsor Review 28.2 (Fall 1995): 33. Print.
---. Life in Another Language. Dunvegan: Cormorant Books, 1992. Print.
---. Manstorna: Life on the Mountains. Charlottetown: Ragweed, 1985. Print.
---. “Marsilio Casotti and His Bride Faustina.” Words Out There. Ed. by Jeanette Lynes, Lockeport: Roseway Publishing, 1999. 26. Print.
---. “Monet’s Prayer at Rouen.” Words Out There. Ed. by Jeanette Lynes, Lockeport: Roseway Publishing, 1999. 25. Print.
---. “Nursing Home.” Canadian Literature 141 (Summer 1994): 33. Print.
---. October Winds. Fredericton: Fiddlehead Poetry Books, 1980. Print.
---. “Ravaged.” Prairie Schooner 67.4 (Winter 1993): 150. Print.
---. “Real Life.” Ariel 22.4 (October 1991): 110. Print.
---. “Smell of fresh bread.” Windsor Review 28.2 (Fall 1995): 32. Print.
---. Stealing the Flowers of Evil. Ottawa: Borealis, 2008. Print.
---. Syntax of Ferment. Fredericton: Fiddlehead Poetry Books, 1979. Print.
---. “Tattoo.” Coastlines: The Poetry of Atlantic Canada. Ed. by Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath, Fredericton: Goose Lane Editions, 2002. 93-94. Print.
---. “The Acadian village rebuilt.” Choice Atlantic. Ed. by Elaine Crocker, Eric Norman, and Michael Nowlan, St. John’s: Breakwater, 1990. 174. Print.
---. The Rock’s Stillness. Ottawa: Borealis, 2008. Print.
---. “‘This is my language….’” Prairie Schooner 67.4 (Winter 1993): 151. Print.
---. This Numinous Bond. Ottawa: Borealis, 2003. Print.
---. “Two Poems.” The Fiddlehead 190 (Winter 1996): 44-45. Print.
---. “Two Poems.” The Fiddlehead 196 (Summer 1998): 143. Print.
---. “Two Poems.” The Fiddlehead 204 (Summer 2000): 87-88. Print.
---. Unlearning Ice. Ottawa: Borealis, 2001. Print.
---. Unrest Bound. Brandon: Pieran Press, 1985. Print.
---. Untethered in Paradise. Ottawa: Borealis, 2002. Print.
---. “Winter Morning.” Prairie Schooner 67.4 (Winter 1993): 150. Print.
---. Winter Songs. London: Kilally Press, 1977. Print.
---. Word-House of a Grandchild. Charlottetown: Ragweed, 1987. Print.
Primary Sources: Prose, Non-fiction, and Essays
Welch, Liliane. “Baudelaire: Literary Criticism and the Advent of Technology.” The Bulletin of the Midwest Modern Language Association 5.2 (1972): 46-54. Print.
---. Frescoes: Travel Pieces. Ottawa: Borealis, 1998. Print.
---. “Grandparents: A Fragment.” Ricordi: Things Remembered. Ed. by C.D. Minni, Montreal: Guernica, 1989. 59-64. Print.
---. “His Last Visit.” The Anthology of Italian-Canadian Writing. Ed. by Joseph Pivato, Montreal: Guernica, 1998. 179-199. Print.
---. “Mallarmé and the Experience of Art.” The Journal of Aesthetics & Art Criticism 30.3 (Spring 1972): 369-375. Print.
---. “On Reading Poetry to Others.” Choice Atlantic. Ed. by Elaine Crocker, Eric Norman, and Michael Nowlan, St. John’s: Breakwater, 1990. 171-173. Print.
---. Rev. of Aesthetishce Erfahrung und literarische Hermeneutik. Band I: Versuche im Feld der aesthetischen Erfahrung by Hans Robert Jauss. The Journal of Aesthetics & Art Criticism 37.3 (March 1979): 363-365. Print.
---. Rev. of Benjamin Péret by J. H. Matthews. The Modern Language Journal 61.5/6 (September/October 1977): 306. Print.
---. Rev. of Die nicht mehr schönen Künste: Grezphänomene des Ästhetischen ed. by H. R. Jauss. The Journal of Aesthetics and Art Criticism 28.4 (Summer 1970): 548. Print.
---. Rev. of Entre Moi et Moi: Essais critiques sur la conscience de soi by Georges Poulet. The Modern Language Journal 62.7 (November 1978): 371. Print.
---. Rev. of Eros et Logos: Esquisse de phénoménologie de l'intériorité créatrice, Illustrée par les textes poétiques de Paul Valéry by A. -T. Tymieniecka. The Journal of Aesthetics and Art Criticism 32.2 (Winter 1973): 279-280. Print.
---. Rev. of Getting the Housework Done for the Dance by Libby Oughton. Atlantis 13.2 (Spring 1988): 145. Print.
---. Rev. of Hermeneutics, Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer by Richard E. Palmer. The Journal of Aesthetics and Art Criticism 30.2 (Winter 1971): 260-262. Print.
---. Rev. of Hölderlins Wille zur Tragödie by Klaus-Rüdiger Wöhrmann. The Journal of Aesthetics and Art Criticism 28.1 (Autumn 1969): 110-111. Print.
---. Rev. of Kleine Schriften by Hans-Georg Gadamer. The Journal of Aesthetics and Art Criticism 28.4 (Summer 1970): 545-546. Print.
---. Rev. of L'Absolu et la Forme: L'esthétique d'André Malraux by Stefan Morawski, trans. by Yolande Lamy-Grum. The Journal of Aesthetics and Art Criticism 32.3 (Spring 1974): 427. Print.
---. Rev. of La Connaissance de l'individuel et la logique du realisme by Jean-Claude Piguet. The Journal of Aesthetics and Art Criticism 35.2 (December 1976): 236. Print.
---. Rev. of Les Mots sous les mots: Les Anagrammes de Ferdinand de Saussure by Jean Starobinski. The Journal of Aesthetics and Art Criticism 31.3 (Spring 1973): 412-414. Print.
---. Rev. of Man's New Shapes: French Avant-Garde Drama's Metamorphoses by Kenneth Steele White. Modern Drama 23.1 (1980): 85-87. Print.
---. Rev. of Mythologies by Roland Barthes, trans. by Annette Lavers. The Journal of Aesthetics & Art Criticism 31.4 (Summer 1973): 563-564. Print.
---. Rev. of Order and Adventure in Post-Romantic Poetry by E. M. Beaumont, J. M. Cocking, and J. Cruickshank. The Modern Language Journal 58.5/6 (September/October 1974): 277. Print.
---. Rev. of Perpetuum Mobile: A Study of the Novels and Aesthetics of Michel Butor by Mary Lydon. Philosophy and Literature 6.1/2 (Fall 1982): 211-212. Print.
---. Rev. of Pour une esthétique de l'essai by Robert Champigny. The Journal of Aesthetics and Art Criticism 28.1 (Autumn 1969): 102-103. Print.
---. Rev. of Recherches Poïétiques I. The Journal of Aesthetics & Art Criticism 34.3 (March 1976): 359-360. Print.
---. Rev. of Sartre's Theory of Literature by Christina Howells. The Journal of Aesthetics & Art Criticism 39.3 (March 1981): 351-352. Print.
---. Rev. of Sartre: Un Film réalisé par Alexandre Astruc et Michel Contat. The Journal of Aesthetics & Art Criticism 36.4 (June 1978): 503-505. Print.
---. Rev. of Savage Comedy since King Ubu: A Tangent to “The Absurd” by Kenneth Steele White. The Journal of Aesthetics & Art Criticism 36.1 (September 1977): 114-115. Print.
---. Rev. of Sensibility and Creation: Studies in Twentieth Century French Poetry by Roger Cardinal. The Modern Language Journal 62.4 (April 1978): 204. Print.
---. Rev. of Sinne und Sinnesverknüpfungen by Ludwig Schrader. The Journal of Aesthetics & Art Criticism 29.4 (Summer 1971): 545-547. Print.
---. Rev. of Terror und Spiel: Probleme der Mythenrezeption ed. by Manfred Fuhrmann. The Journal of Aesthetics and Art Criticism 31.3 (Spring 1973): 415-417. Print.
---. Rev. of The Appreciation of Modern French Poetry by Peter Broome and Graham Chesters. The Modern Language Journal 61.5/6 (September/October 1977): 298-299. Print.
---. Rev. of The Road from Paris: French Influence on English Poetry, 1900-1920 by Cyrena M. Pondrom. The Modern Language Journal 59.1/2 (January/February 1975): 75. Print.
---. Rev. of Three Modes of Criticism: The Literary Theories of Scherer, Walzel, and Staiger by Peter Salm. The Journal of Aesthetics and Art Criticism 28.3 (Spring 1970): 392-393. Print.
---. Seismographs: Selected Essays and Reviews. Ed. by Richard Lemm, Charlottetown: Ragweed, 1988. Print.
---, and Cyril Welch. “Reading Poetry and Philosophy: The Case of Michel Butor.” Man and World 11.3/4 (September 1978): 350-371. Print.
---. Rev. of Poetry, Language, Though by Martin Heidegger and On the Way to Language by Martin Heidegger. The Journal of Aesthetics and Art Criticism 31.1 (Autumn 1972): 117-123. Print.
Secondary Sources
Bailiff, John. Rev. of Emergence: Baudelaire, Mallarmé, Rimbaud by Cyril Welch and Liliane Welch. The Modern Language Journal 58.8 (December 1974): 420. Print.
Baker, Janet. Rev. of Seismographs by Liliane Welch. The Atlantic Provinces Book Review 16.2 (June 1989): 12. Print.
Bell, Andrea. “Liliane Welch.” New Brunswick Literary Encyclopedia, stu-sites.ca, 2008. Web. 7 Aug. 2020.
Betz, Dorothy M. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. The French Review 55.5 (April 1982): 685-686. Print.
Bouraoui, Hédi. “Liliane Welch: A New Voice from the Maritimes.” Essays on Canadian Writing 31 (Summer 1985): 240-250. Print.
Brewer, Mária Minich. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. Philosophy and Literature 5.1 (Spring 1981): 121-122. Print.
Burke, Anne. Rev. of Word-House of Grandchild. Poetry Canada Review 10.2 (Summer 1989): 42-45. Print.
Chlebek, Diana. “Canada: Compiled and Introduced.” The Journal of Commonwealth Literature 46.4 (December 2011): 573-601. Print.
Cocking, J. M. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. French Studies 38.3 (July 1984): 359. Print.
Collier, Peter. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. The Modern Language Review 76.2 (April 1981): 474-475. Print.
Compton, Anne. “Ascension: Liliane Welch Talks About Poetry.” Interview with Liliane Welch. Canadian Literature 166 (2000): 127-141. Print.
---. “Ascension: Liliane Welch Talks About Poetry.” Interview with Liliane Welch. Meetings with Maritime Poets. Markham: Fitzhenry and Whiteside, 2006. 51-66. Print.
Cosier, Tony. Rev. of Manstorna by Liliane Welch. CM Archive, cmreviews.ca. Web. 7 Aug. 2020.
Drodge, Susan. “Trusting in Movement.” Rev. of Dream Museum by Liliane Welch, Wading the Trout River by Carolyn Zonailo, Autobiography by Marilyn Bowering, Debriefing the Rose by Mary di Michele, and Garden of Sculpture by Elizabeth Brewster. Canadian Literature 165 (Summer 2000): 122-125. Print.
Estok, Michael. “Family Ties.” Rev. of My Diary of Earth by Gregory M. Cook, Hong Kong Poems by Gary Geddes, Tough Roots by Jean McCallion, The Ballad of Isobel Gunn by Steven Scobie, and Word-House of a Grandchild by Liliane Welch. The Fiddlehead 158 (Winter 1988): 106-114. Print.
Fiamengo, Janice. “Boundary Areas.” Rev. of Rapunzel, Rapunzel, Let Down Your Hair by Jancis M. Andrews, and Life in Another Language by Liliane Welch. Canadian Literature 137 (1993): 98-100. Print.
Fischer, Neil. Rev. of Manstorna: Life on the Mountains by Liliane Welch. Antigonish Review 65 (Spring 1986): 161-164. Print.
Greene, Richard. “I Showed You My Tattoo!” Rev. of Meetings with Maritime Poets by Anne Compton. Books in Canada 36.5 (Summer 2007): 32-33. Print.
Harry, Margaret. Rev. of Fire to the Looms Below by Liliane Welch. The Atlantic Provinces Book Review 17.3 (September/October 1990): 4. Print.
Hatch, Ronald B. Rev. of Fire to the Looms Below by Liliane Welch. University of Toronto Quarterly 61.1 (Fall 1991): 66. Print.
Houston, John Porter. Rev. of Emergence: Baudelaire, Mallarmé, Rimbaud by Cyril Welch and Liliane Welch. The French Review 48.2 (December 1974): 436-437. Print.
Hutchman, Laurence. Rev. of Life in Another Language by Liliane Welch. Dalhousie Review 72.4 (Winter 1993): 563-565. Print.
Kuropatwa, Joy. “(Dis)continuity.” Rev. of Life, Love & Onions by Helen Potrebenko, and Word-House of a Grandchild by Liliane Welch. Canadian Literature 120 (Spring 1989): 160-161. Print.
LaDuke, Janice, and Steve Luxton. “Liliane Welch.” Full Moon. Dunvegan: Quadrant Editions, 1983. 183. Print.
Lane, M. Travis. “Self Voyages.” Rev. of Brush and Trunks by Liliane Welch, Wake-Pick Poems by Kristjana Gunnars, and Voyages by T. D. MacLulich. Canadian Literature 95 (1982): 154-156. Print.
Lynes, Jeanette. “Liliane Welch’s Fidelities.” Interview with Liliane Welch. Words Out There. Lockeport: Roseway Publishing, 1999. 111-116. Print.
Martindale, Sheila. “Liliane Welch: The Oxygen of Written Words Staves Off Trivial Thoughts.” Canadian Author and Bookman 68.1 (1992): 12. Print.
Mierau, Maurice. Rev. of Fire to the Looms Below by Liliane Welch. Books in Canada 19.7 (October 1990): 33-34. Print.
Milner, Philip. Rev. of Seismographs by Liliane Welch. ArtsAtlantic 9.3 (Fall 1989): 60-61. Print.
Mount, Nick. Rev. of Dream Museum by Liliane Welch. The Dalhousie Review 75.2 (Summer 1995): 276-278. Print.
“Liliane and Cyril Welch Fonds: Finding Aids.” National Gallery of Canada: Library and Archives, gallery.ca. Web. 7 Aug. 2020.
Otten, A. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. World Literature Today 54.4 (Autumn 1980): 602. Print.
Ricard-Burke, Anne. Rev. of Seismographs by Liliane Welch. Atlantis 15.1 (1989): 172. Print.
Roudiez, Leon S. Rev. of Address: Rimbaud, Mallarmé, Butor by Liliane Welch, Cyril Welch. Revue d'Histoire littéraire de la France 81.4/5 (July/October 1981): 827. Print.
Smith, E. Russell. “A Passionate Observer.” Rev. of The Rock’s Stillness by Liliane Welch. The Fiddlehead 205 (Autumn 2000): 112. Print.
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---. Rev. of Unlearning Ice by Liliane Welch. The Antigonish Review 129 (Spring 2002): 83-85. Print.
Vandervlist, Harry. “Climbing as Thinking and Writing: The Cheirographic Poetry of Liliane Welch.” Mountains Figured and Disfigured in the English-Speaking World. Ed. by Françoise Besson, Newcastle upon Tyne: Cambridge Scholars Publishing, 2010. 405-412. Print.
Wolfzettel, Friedrich. Rev. of Michel Butor: A Checklist by Barbara Mason, Intentionality and Intersubjectivity: A Phenomenological Study of Butor’s La Modification by Lois Oppenheim, and Address: Rimbaud, Mallarmé, Butor by Liliane Welch and Cyril Welch. Romanische Forschungen 96.3 (January 1984): 364-370. Print.
