R.M. Vaughan
Biography
RM Vaughan - Photo Courtesy of Author
Richard Murray (RM) Vaughan was born in Saint John, New Brunswick in 1965. He stayed in New Brunswick to attain both his Bachelor of Arts Degree and his Masters of Arts in English from the University of New Brunswick. He now lives and works in Toronto, Ontario as a poet, novelist, and playwright.
Vaughan has written many poetry books and chapbooks. Some of his most successful works include A Selection of Dazzling Scarves (ECW, 1996) and 96 tears (in my jeans) (Broken Jaw Press, 1997). Various poems have been included in different publications, such as the Quill and Quire (1998), Canadian Literature Magazine (2005), and in an extensive entry in the New Brunswick Literary Encyclopedia. Vaughan has been nominated for the National Magazine Award, the William Kilbourne Award, and the ReLit Award; he has yet to win any of these awards, but as he says in the author bio of Compared to Hitler: Selected Essays, it is his version of being “always the bridesmaid.”
Vaughan passed away on October 23, 2020.
Vaughan has written many poetry books and chapbooks. Some of his most successful works include A Selection of Dazzling Scarves (ECW, 1996) and 96 tears (in my jeans) (Broken Jaw Press, 1997). Various poems have been included in different publications, such as the Quill and Quire (1998), Canadian Literature Magazine (2005), and in an extensive entry in the New Brunswick Literary Encyclopedia. Vaughan has been nominated for the National Magazine Award, the William Kilbourne Award, and the ReLit Award; he has yet to win any of these awards, but as he says in the author bio of Compared to Hitler: Selected Essays, it is his version of being “always the bridesmaid.”
Vaughan passed away on October 23, 2020.
Additional Information:
Author's Personal website
Author's Wikipedia page
Interview (Words with Presents)
International Writer’s Festival readings
Author's Personal website
Author's Wikipedia page
Interview (Words with Presents)
International Writer’s Festival readings
(Excerpts)
1.
just over the kneecap, left side, sucking cock on
the floor at the Barracks
2.
at the point where the zipper meets the waist
button, digging at myself, I guess
3.
inseam, lower left nut pouch, from sitting with
my legs open all summer on porch steps and
park benches
4.
frayed pocket hem, lower right end, provocative
standing and ceaseless rucking around for
change
5.
worn thin under the bottom cup of the right ass
cheek, getting spanked by an older guy in some
high rise on Carleton
6.
cuff on left leg, caught in a bike chain, no sexual
overtones
Published in 96 tears (in my jeans). (Broken Jaw Press, 1997).
Used with permission of the author.
1.
just over the kneecap, left side, sucking cock on
the floor at the Barracks
2.
at the point where the zipper meets the waist
button, digging at myself, I guess
3.
inseam, lower left nut pouch, from sitting with
my legs open all summer on porch steps and
park benches
4.
frayed pocket hem, lower right end, provocative
standing and ceaseless rucking around for
change
5.
worn thin under the bottom cup of the right ass
cheek, getting spanked by an older guy in some
high rise on Carleton
6.
cuff on left leg, caught in a bike chain, no sexual
overtones
Published in 96 tears (in my jeans). (Broken Jaw Press, 1997).
Used with permission of the author.
Critical Analysis: Significance in the object of R.M. Vaughan's 96 tears (in my jeans)
Emily Donnelly (for Advanced Poetry), Monica Grasse (2015 Managing Editor), and Ben Lord (Engl. 4426)
Louis Dudek’s definition of found poetry sheds light on RM Vaughan’s 96 tears (in my jeans) by explaining Vaughan’s use of his object of choice: jeans. In his introduction to F. R. Scott’s Trouvailles, Dudek describes how “significance appears inherent in the object…where natural objects and utilitarian objects are seen as the focus of generative form or meaning” (48). To Vaughan, the significant object is a pair of old jeans with numerous holes and tears. Each of the 96 tears elicits a different nuanced response, evoking in readers an understanding of the suffering, joy, or deep love the speaker experienced while wearing his jeans.
Instead of seeing his jeans as well destroyed, Vaughan changes his perspective to see the story behind each tear and hole in the denim. Using humor and tangible imagery, the speaker reveals very human struggles, which makes subject matter of the poetry within 96 tears (in my jeans) not an exclusively text dealing with homosexual subject matter, but one of universal experience. The first common experience of body image is seen as early as the seventh tear, where Vaughan writes of his insecurities by describing how the “fabric [is] shredded, directly beneath the V joining/the leg inseams to the crotch, fat thighs rubbing/together like bread dough only softer” (6). The author further emphasizes his insecurities in the 24 tear: “hem, both legs, badly restitched, why can’t/anything ever be in my size goddamn I hate/my body” (9). These tears in his jeans represent the kind of self-loathing shared by many people in Western culture.
Vaughan’s second shared experience comes from the emotional suffering he frequently encounters from his partners, a number of whom are far from ideal. The speaker’s physical insecurities extend to his relationships; as he describes a hurtful jab that caused him tear number 52: “right leg hem lower than left, legs uneven, you/called me a mutant Ha Ha and I’ve yet to/wholly forgive you” (14). Beyond the insecurities felt when being with someone, Vaughan also illustrates the loneliness of not having a partner in tear 8 when a seam comes loose from “too much sitting down in ruthless cafes looking/at cute waiters who never think of me as a/regular no matter how often I go” (6) and tear 13 happens after being “caught on a juniper bush” when “cruising Fredericton riverfront…no luck” (7).
While moments of anguish and evident hurt are explained to readers by way of flaws in the material, so are moments of unfathomed joy, love, and acceptance. In tear 18, Vaughan acknowledges that despite many unfortunate circumstances, he will choose to find the good in himself. A “6 cm hole” in his jeans reminds him of the time spent with his mother “planting nasturtiums” as well as the realization that “I am if nothing else a good son despite/everything” (8). Similarly, readers are privileged with some of the speaker’s more intimate, positive moments: tear 44 came when Vaughan was “giggling” (13) with his partner; tear 23 occurred because they “kiss in the kitchen so much” (9); and tear 28 resulted after “double-riding/on his bike” (10). These moments provide a sense of contentment for Vaughan and satisfaction for readers, but it is the permanent nail polish stain that creates a sense of deep love. As Vaughan’s partner takes a break from “drag/preparations,” he accidentally gets “fushia berry frost gloss” on Vaughan’s leg (15). This time, instead of destroying what was there – as the other holes and tears had previously done – the nail polish is an added stain and supplementary reminder of love. This is an enjoyable mark which reminds Vaughan of happy instances with the person he loves: “silly queen but I luv yah” (15).
In each of the marks, tears, holes, and rips of his jeans, Vaughan elevates a mere article of clothing to an object of personal significance (al a Dudek). On the final page of 96 tears (in my jeans), RM Vaughan explains how “every step in those jeans is pure triumph of will,” echoing his struggles, his perseverance, and his lasting appreciation for each of the 96 tears (22).
Works Cited (for analysis):
Scott, F. R. Introduction. Trouvailles: Poems from Prose. By Louis Dudek. Montreal: Delta Canada, 1967. 2. Print.Bottom of Form
Vaughan, RM. 96 Tears (in my jeans). Fredericton: Broken Jaw Press, 1997. 5-22. Print.
Louis Dudek’s definition of found poetry sheds light on RM Vaughan’s 96 tears (in my jeans) by explaining Vaughan’s use of his object of choice: jeans. In his introduction to F. R. Scott’s Trouvailles, Dudek describes how “significance appears inherent in the object…where natural objects and utilitarian objects are seen as the focus of generative form or meaning” (48). To Vaughan, the significant object is a pair of old jeans with numerous holes and tears. Each of the 96 tears elicits a different nuanced response, evoking in readers an understanding of the suffering, joy, or deep love the speaker experienced while wearing his jeans.
Instead of seeing his jeans as well destroyed, Vaughan changes his perspective to see the story behind each tear and hole in the denim. Using humor and tangible imagery, the speaker reveals very human struggles, which makes subject matter of the poetry within 96 tears (in my jeans) not an exclusively text dealing with homosexual subject matter, but one of universal experience. The first common experience of body image is seen as early as the seventh tear, where Vaughan writes of his insecurities by describing how the “fabric [is] shredded, directly beneath the V joining/the leg inseams to the crotch, fat thighs rubbing/together like bread dough only softer” (6). The author further emphasizes his insecurities in the 24 tear: “hem, both legs, badly restitched, why can’t/anything ever be in my size goddamn I hate/my body” (9). These tears in his jeans represent the kind of self-loathing shared by many people in Western culture.
Vaughan’s second shared experience comes from the emotional suffering he frequently encounters from his partners, a number of whom are far from ideal. The speaker’s physical insecurities extend to his relationships; as he describes a hurtful jab that caused him tear number 52: “right leg hem lower than left, legs uneven, you/called me a mutant Ha Ha and I’ve yet to/wholly forgive you” (14). Beyond the insecurities felt when being with someone, Vaughan also illustrates the loneliness of not having a partner in tear 8 when a seam comes loose from “too much sitting down in ruthless cafes looking/at cute waiters who never think of me as a/regular no matter how often I go” (6) and tear 13 happens after being “caught on a juniper bush” when “cruising Fredericton riverfront…no luck” (7).
While moments of anguish and evident hurt are explained to readers by way of flaws in the material, so are moments of unfathomed joy, love, and acceptance. In tear 18, Vaughan acknowledges that despite many unfortunate circumstances, he will choose to find the good in himself. A “6 cm hole” in his jeans reminds him of the time spent with his mother “planting nasturtiums” as well as the realization that “I am if nothing else a good son despite/everything” (8). Similarly, readers are privileged with some of the speaker’s more intimate, positive moments: tear 44 came when Vaughan was “giggling” (13) with his partner; tear 23 occurred because they “kiss in the kitchen so much” (9); and tear 28 resulted after “double-riding/on his bike” (10). These moments provide a sense of contentment for Vaughan and satisfaction for readers, but it is the permanent nail polish stain that creates a sense of deep love. As Vaughan’s partner takes a break from “drag/preparations,” he accidentally gets “fushia berry frost gloss” on Vaughan’s leg (15). This time, instead of destroying what was there – as the other holes and tears had previously done – the nail polish is an added stain and supplementary reminder of love. This is an enjoyable mark which reminds Vaughan of happy instances with the person he loves: “silly queen but I luv yah” (15).
In each of the marks, tears, holes, and rips of his jeans, Vaughan elevates a mere article of clothing to an object of personal significance (al a Dudek). On the final page of 96 tears (in my jeans), RM Vaughan explains how “every step in those jeans is pure triumph of will,” echoing his struggles, his perseverance, and his lasting appreciation for each of the 96 tears (22).
Works Cited (for analysis):
Scott, F. R. Introduction. Trouvailles: Poems from Prose. By Louis Dudek. Montreal: Delta Canada, 1967. 2. Print.Bottom of Form
Vaughan, RM. 96 Tears (in my jeans). Fredericton: Broken Jaw Press, 1997. 5-22. Print.
Bibliography
Primary Sources: Poetry & Prose
Vaughan, R.M. 14 Reasons Not to Eat Potato Chips on Church Street. Maxville: Above/Ground Press, 1999. Print.
---. 96 Tears (in My Jeans). Fredericton: Broken Jaw Press, 1997. Print.
---. Bright Eyed: Insomnia and Its Cultures. Toronto: Coach House Books, 2015. Print.
---. Camera, Woman. Toronto: Coach House Books, 1994. Print.
---. Contemporary Art Hates You. Toronto: Anstruther Press, 2020.
---. "Generation V." Toronto Life 1 Sep. 2007: CBCA Reference and Current Events, ProQuest. 15 Mar. 2010.
---. The InCorrupt Tables. Fredericton: Wild East Publications, 1992. Print.
---. The InCorrupt Tables. 1992. Fredericton: Broken Jaw Press, 1997. Print.
---. Invisible to Predators. Toronto: ECW, 1999. Print.
---, ed. Marsh Blue Violet: Queer Poetry from New Brunswick. periodicities: a journal of poetry and poetics, periodicityjournal.blogspot.com. 18 June 2020. Web. 21 Aug. 2020.
---. To Monsieur Desmoulins: Dear Camille, in Response to Your Last Letter Before Execution: 203 Years Late. Toronto: Tortoiseshell & Black, 1997. Print.
---. The Monster Trilogy. Toronto: Coach House Books, 2003. Print.
---. A Quilted Heart. Toronto: Insomniac Press, 1998. Print.
---. Ruined Stars. Toronto: ECW, 2004. Print.
---. A Selection of Dazzling Scarves. Toronto: ECW, 1996. Print.
---. Spells. Toronto: ECW, 2003. Print.
---. Troubled: A Memoir in Poems and Fragments. Toronto: Coach House Books, 2008. Print.
---. VE1XE. Victoria: Frog Hollow Press, 2019. Print.
Primary Sources: Film
Vaughan, R.M., writer. Dinner's at 8. Dir. Michael Achtman. Vtape, 1999. Film.
---. A Gun Makes an Awful Mess. Dir. Michael Achtman. Vtape, 1998. Film.
---. Hard Times Town. Dir. Michael Achtman. Vtape, 2000. Film.
---. Hate. CFMDC, 2004. Film.
---. I'm Sorry, Sterling. Dir. Jared Mitchell. 2008-9. Film.
---. In Cairo. CFMDC, 2005. Film.
---. M*A*S*H Notes for Private Kyle Brown. Dir. Michael Achtman. Vtape, 1997. Film.
---. Mr. Danvers. Dir. Michael Achtman. Vtape, 2000. Film.
---. Perfect. Dir. Michael Achtman. Vtape, 2001. Film.
---. Rx. CFMDC, 2006. Film.
---. Shinto. Dir. Michael Achtman. Vtape, 2000. Film.
---. Shit Storm. CFMDC, 2007. Film.
---. Tubbé. Dir. Michael Achtman. Vtape, 1998. Film.
---. My Father's Idea of Heaven. Dir. Jared Mitchell. CFMDC, 2006. Film.
---. Walnut Grove, Mon Amour. CFMDC, 2004. Film.
Vaughan, R.M. and Shannon Cochrane. Sports Bra. CFMDC, 2006. Film.
Secondary Sources
Brophy, Sarah. "'In Sotto Howl': sexuality and politics in the poetry of R.M. Vaughan." Essays on Canadian Writing 63 (Spring 1998): 172-96. Print.
“Buddies in Bad Times Theatre website.” 2008. Web. 20 Nov. 2008.
“Canadian Filmmakers Distribution Centre website.” 2008. Web.
Grubisic, Brett Josef. "Margin, vanguard." Canadian Literature 187 (Winter 2005): 122-24. Print.
Huffman, Kerri. "Literary Horror. (Reviews)." The Fiddlehead 219 (Spring 2004): 113-15. Print.
Knight, Chris. "Vaughan, R.M. Ruined Stars." Canadian Book Review Annual (Annual 2005): 233-34. Print.
“Novelist R.M. Vaughan to Read at UNBF.” UNB Fredericton News. 5 Nov. 2003. 21 Nov. 2008. Print.
“R.M. Vaughan.” 2008. Coach House Books. Web. 19 Nov. 2008.
“R.M. Vaughan.” 2015. New Brunswick Literary Encyclopedia. Web. 1 June 2015.
“R.M. Vaughan: Biography.” 2008. University of Toronto. Web. 19 Nov. 2008.
Richardson, Bill. "Quilted Heart." Quill and Quire 64.9 (Sept 1998): 56. Print.
Stark, Leslie. "Writing in the Dark." Canadian Literature 186 (Autumn 2005): 187-88. Print.
Vaughan, R.M. "No Point in Being Shy: Misremembering The Cormorant." Parallel Universe: the poetries of New Brunswick. Ed. Shane Neilson and Sue Sinclair, Victoria: Frog Hollow Press, 2018. 149-156. Print.
---. "Using Art to Rethink the Legacy of Nazi Germany." The Walrus, thewalrus.ca, 27 Oct. 2017. Web. 10 Jan. 2019.
---. "Q&A: Paul Vermeersch talks self-fulfilling prophecies, science fiction, and his new poetry collection." This, this.org, 26 Oct. 2018. Web. 10 Jan. 2019.
“Who’s This.” This Magazine website. 2008. Web. 20 Nov. 2008
Vaughan, R.M. 14 Reasons Not to Eat Potato Chips on Church Street. Maxville: Above/Ground Press, 1999. Print.
---. 96 Tears (in My Jeans). Fredericton: Broken Jaw Press, 1997. Print.
---. Bright Eyed: Insomnia and Its Cultures. Toronto: Coach House Books, 2015. Print.
---. Camera, Woman. Toronto: Coach House Books, 1994. Print.
---. Contemporary Art Hates You. Toronto: Anstruther Press, 2020.
---. "Generation V." Toronto Life 1 Sep. 2007: CBCA Reference and Current Events, ProQuest. 15 Mar. 2010.
---. The InCorrupt Tables. Fredericton: Wild East Publications, 1992. Print.
---. The InCorrupt Tables. 1992. Fredericton: Broken Jaw Press, 1997. Print.
---. Invisible to Predators. Toronto: ECW, 1999. Print.
---, ed. Marsh Blue Violet: Queer Poetry from New Brunswick. periodicities: a journal of poetry and poetics, periodicityjournal.blogspot.com. 18 June 2020. Web. 21 Aug. 2020.
---. To Monsieur Desmoulins: Dear Camille, in Response to Your Last Letter Before Execution: 203 Years Late. Toronto: Tortoiseshell & Black, 1997. Print.
---. The Monster Trilogy. Toronto: Coach House Books, 2003. Print.
---. A Quilted Heart. Toronto: Insomniac Press, 1998. Print.
---. Ruined Stars. Toronto: ECW, 2004. Print.
---. A Selection of Dazzling Scarves. Toronto: ECW, 1996. Print.
---. Spells. Toronto: ECW, 2003. Print.
---. Troubled: A Memoir in Poems and Fragments. Toronto: Coach House Books, 2008. Print.
---. VE1XE. Victoria: Frog Hollow Press, 2019. Print.
Primary Sources: Film
Vaughan, R.M., writer. Dinner's at 8. Dir. Michael Achtman. Vtape, 1999. Film.
---. A Gun Makes an Awful Mess. Dir. Michael Achtman. Vtape, 1998. Film.
---. Hard Times Town. Dir. Michael Achtman. Vtape, 2000. Film.
---. Hate. CFMDC, 2004. Film.
---. I'm Sorry, Sterling. Dir. Jared Mitchell. 2008-9. Film.
---. In Cairo. CFMDC, 2005. Film.
---. M*A*S*H Notes for Private Kyle Brown. Dir. Michael Achtman. Vtape, 1997. Film.
---. Mr. Danvers. Dir. Michael Achtman. Vtape, 2000. Film.
---. Perfect. Dir. Michael Achtman. Vtape, 2001. Film.
---. Rx. CFMDC, 2006. Film.
---. Shinto. Dir. Michael Achtman. Vtape, 2000. Film.
---. Shit Storm. CFMDC, 2007. Film.
---. Tubbé. Dir. Michael Achtman. Vtape, 1998. Film.
---. My Father's Idea of Heaven. Dir. Jared Mitchell. CFMDC, 2006. Film.
---. Walnut Grove, Mon Amour. CFMDC, 2004. Film.
Vaughan, R.M. and Shannon Cochrane. Sports Bra. CFMDC, 2006. Film.
Secondary Sources
Brophy, Sarah. "'In Sotto Howl': sexuality and politics in the poetry of R.M. Vaughan." Essays on Canadian Writing 63 (Spring 1998): 172-96. Print.
“Buddies in Bad Times Theatre website.” 2008. Web. 20 Nov. 2008.
“Canadian Filmmakers Distribution Centre website.” 2008. Web.
Grubisic, Brett Josef. "Margin, vanguard." Canadian Literature 187 (Winter 2005): 122-24. Print.
Huffman, Kerri. "Literary Horror. (Reviews)." The Fiddlehead 219 (Spring 2004): 113-15. Print.
Knight, Chris. "Vaughan, R.M. Ruined Stars." Canadian Book Review Annual (Annual 2005): 233-34. Print.
“Novelist R.M. Vaughan to Read at UNBF.” UNB Fredericton News. 5 Nov. 2003. 21 Nov. 2008. Print.
“R.M. Vaughan.” 2008. Coach House Books. Web. 19 Nov. 2008.
“R.M. Vaughan.” 2015. New Brunswick Literary Encyclopedia. Web. 1 June 2015.
“R.M. Vaughan: Biography.” 2008. University of Toronto. Web. 19 Nov. 2008.
Richardson, Bill. "Quilted Heart." Quill and Quire 64.9 (Sept 1998): 56. Print.
Stark, Leslie. "Writing in the Dark." Canadian Literature 186 (Autumn 2005): 187-88. Print.
Vaughan, R.M. "No Point in Being Shy: Misremembering The Cormorant." Parallel Universe: the poetries of New Brunswick. Ed. Shane Neilson and Sue Sinclair, Victoria: Frog Hollow Press, 2018. 149-156. Print.
---. "Using Art to Rethink the Legacy of Nazi Germany." The Walrus, thewalrus.ca, 27 Oct. 2017. Web. 10 Jan. 2019.
---. "Q&A: Paul Vermeersch talks self-fulfilling prophecies, science fiction, and his new poetry collection." This, this.org, 26 Oct. 2018. Web. 10 Jan. 2019.
“Who’s This.” This Magazine website. 2008. Web. 20 Nov. 2008
