Of this year’s Writer’s Fest’s success there can be no doubt; and itis with this in mind that I dedicate my article to our esteemed Member of Parliament, Chunk Cooke, and his recent work of fiction (which was subsidized by the Canadian government). New Direetions Two writers were presented at this event: Katherine Govier and Nick Bantock. Govier is from Alberta, although she writes with a ‘cosmopolitan’ ( a.k.a. American ) Toronto flair. For this event she read from her new novel, Hearts of Flame. This book contains what I have deemed to be the absolute worst phrase used during the entire Writer’s Fest: “then all hell broke _ loose”. ugh. Onthe other hand, Nick Bantock’s new book, Griffin and Sabine, is certain to become a classic within its own time. A collection of ficti- tious mail correspondence, his book combines superb painted images with an intriguing story line. Its textual format of real, removable letters is not new, however (regard: The Jolly Postman by Janet and Allan Ahlberg, for children); its true novelty lies in its being such a visually fresh and colourful book designed specifically for adults. The reading Bantock gave from the book, with Govier, highlighted the evening. Breaking the Barriers Literature and lounge music don’t mix. I learned this all too well at this event, as alocal band attempted an ‘improv’ to literature readings. The reptilé tunes of Salvador Ferreras and his band were clumsy behind the Latin American authors. I felt as though I should be slipping into a Las Vegas manic depression. My mind concocted a tale about my third wife who had just kicked me out of the house for the second time. I imagined I was sitting in aneon bar with mirrors, slipping down Alcohol Avenue towards oblivion. But where was my sympathetic bar- tender? And why doesn’t the band play some Barry Manilow? Oh yeah! This is a literature reading! Isn’t it ironic that, as the event occurred, Al Purdy and Leonard Cohen were on T.V. expounding the ruinous effects that music can have on _ poetry? There were times when the event came together. For one or two of Carmen Rodriguez’ poems the air was electric.The subtle drumbeat behind Arturo Arias grip- ping prose was magical. Alfonso Quijada Urias, Nelson Rodriguez, and Car- men Berenguer all read very well (Berenguer at about mach 38!), their material about some of the most intense I’ve heard. The event closed with a beautiful story/song by Lilliane Heker which was both rousing and satisfy- ing. Dan Piraro I cannot forget to mention the visit the visit of Bizarro artist Dan Piraro to ECCAD. It was a very casual afternoon in the Faculty Lounge Sponsored by Lunatic Productions. Piraro was able to relax and chat openly with a small group of students and teachers about his creative process, his relationship with his father, and what he felt were the benefits of attending an exclusively art - oriented college. The time was very special, indeed. Hollywood Calling This early Saturday morning event explored several - Vnietolt Planet of the Arts Volume 7 Issue 3 by Andrew Robulack writers’ experiences with turning their work into films. The discussion quickly developed into a conflict be- tween movie making as a business and film design as an art. Poets Michael Ondaatje and Patrick Friesen boldly defended the cultural dignities of film - making while Tony Foster and Adrian Raeside dealt with its financial aspects. It seemed fitting that literary agent Dennis Bukowski was positioned at the center of the panel ; two of her writers are wrestling with the money vs. art DON'T PANIC READ EVERYTHING FIRST conflict right now, as their books are metamorphosized into movies. Foster, a writer from Nova Scotia, had valuable advice for anyone who wants to see their script produced. He seemed to dismiss, however, the idea that art may have any role to play in film - making. Friesen and Ondaatje, on the other hand, moved to suggest that literature and film - making should be separated as different forms of art. If a book is successful is there a need to recreate it visually? Or does this demean the artistic relevance of either medium? The Poetry Bash This is what the Writers’ Festival is all about! To give our most invaluable method of expression a popular forum. Poetry is too ignored today, too secluded amongst its own intellectual domain. The Poetry Bash at the Writers’ Fest is important because it offers our makers of modem verse achance to display their skills to a wider public. Also, to reinforce the relevance of poetry as an art. One of Canada’s best, P.K. Page, opened firmly and justly, leaving no room for doubt that this would be an intense evening. She read from her poem, ‘Deaf Mute In a Pear Tree’: Pale sunlight's choppy water glistens on His mutely snipping blades and flags and scraps of blue above him make him regatta of the day (lines 23 - 26) The poets who followed were each hypnotizing in their own way. Susan Musgrave beat her words in the air with a half - clenched fist, as though keeping time to an invisible drum. The air around her broke like water. Loma Crozier was the ambiguously horny jester of sexual attitude; she read ‘Carrots’ from “The Sex Lives of Vegetables’: Carrots are fucking the earth. A permanent erection, they push deeper into the damp and dark. (lines 1 - 4) Nadine Shelley from Salt Spring Island breathed out her verse in an almost languid fashion, deep and earthy in tone. Her words from some place beyond either throat or lungs, and the microphone was almost unable to handle them. Clear, honest, and openly poetic, Patrick Fiesen was like a long breath of spring air. Dennis Lee was gem, opening his words in such a way that, judging from the audience’s response, he touched everyone with an insightful familiarity (‘Coming Becomes You’). Patrick Lane was a bit more ambiguous, his treatment of the memory of his father being very strange to me. Maybe I’m just not old (or melan- choly) enough yet. The audience ex- ploded as the final poet of the evening, Sharon Olds explained where we get the term ‘The American Way’. If I had any say in this at all, I would make this event a special dedication to Chuck Cooke. Off The Page Sheri D. Wilson sat on cake. Robert Priest saluted water. Joe Rosenblatt buzzzzzzzzzzed. This, Part II of the Poetry Bash: the Performance Poets, was perhaps even better than Part I. Anoher side of poetry was displayed here, an ecstatic side which burns and hovers and yells. Upsidedown Aus- tralian, Steven Herrick, vibrated and glowed, firing off words with the force of an electric generator. He easily filled the theatre with energy, his voice bounding off the walls; he was so intense I found myself laughing at words I should have been crying over. From his poem,’ Ambition’, which is for his son, Joe: for a start don't sell things don't wear a smile for people you think are richer than you. know your hands. throw a ball against a wall until you can hit the white dot and know why you drew that dot there in the first place. (lines1 - 8) A special mention here for Herrick’s book *‘Caboolture’ (Five Islans Press, Australia); easy to understand, his verse is a dramatic and feeling continuum. Definitely modern stuff. Ask for it at Blackberry Books. Joe Rosenblatt is one of this country’s premiere sound poets. His bumblebee poems are internationally re- nowned and, they made up the bulk of his short set at the festival (this was the only event in which he took part). His voice existed ona level of a throaty hum, murmuring words which formed almost visible sound patterns. One could easily imagine a bumblebee buzzing around a flower garden. Sheri D. Wilson showed two sides of herself. She began with a poem/letter that she had written to a close friend in Seattle. His recent death spurred this reading. Second, she performed a longer piece which ended inher reaching sexual climax by way of achocolate cake (from where I was sitting though, she was wearing underwear - a technical criticism). All this should leave you looking forward to number five next year, something even bigger and better, possi- bly. Or, if you can’t wait that long, keep an eye out for Vancouver Writers’ Fest sponsored author readings which take place four or five times a year. And go read a book, help prove Mr. Cooke wrong.* (Of this year's Writer's Fes's success there can be no ‘doubt anditis with this ining that [dedicatemy article twouresteemed Member of Parliament, Chunk Cooke, and his recent wotk of fiction (which was subsidized by the Canadian government) New Diretons ‘Two writers were presented at this event: Katherine Govier and Nick Bantock. Govier is from Alberta, although she writes with a ‘cosmopolitan’ ( aka, ‘American ) Toronto fair. For this event she read from her new novel, Hearts of Flame. This book contains ‘what have deemed tobe the absolute worstphrase used uring the enire Writer's Fest: “then all hell broke loose”. ugh ‘Onthe otherhand, Nick Bantock’s new book, Grifin and Sabine is ‘erain to become a classic within its own ime, A collection of it tiousmail correspondence, hisbook ‘combines superb painted images with an intriguing story Tine, is textual format of rea, removable leurs is not new, however (regard The Jolly Postman by Janet and Allan Ahlberg, for children) its true novelty lies in its being such a visually fresh and colourful book designed specifically for adults. The reading Bantock gave from the book, with Govier, highlighted the evening. raking te Bares Litre nd ange msi don't mix. lead hs ll co well at thisevent, as alocal band attempted tn “improv oer readings. The reptile tines of Salvador Fereras and his band were clumsy behing the Lain ‘American authors. [fel as though should be slipping intoaLas Voges manic depression, My mind conoid 2a about my third wife whohad just ickedme out of the house forthe second ime imagined was siting in ‘neon wthmizror sping down Alcohol Avene towards oblivion. But where was my sympathetic bt tender? And why doesn't the band play some Bay Manilow? (OW youkl This is «literature reading! Inn ttiroie that asthe event occured, Al Purdy a Lenard Cohen were on T.V. expounding the ruinous effects that music can have on poety? “There were times when he event came vogether. For cn or two of Carmen Rodkigoer’ poems tea wis electric The sble drumbeat Wehind Arto Ais gp- Ping rose was magia. ‘Alfonso Quinda Uris, Nelson Rosiguer and Cur- men Berenguer al ad very well (Betenger at bout nach 38 thei mater sboutsome ofthe mostintense Tve ear, The even closed wit bem soryfong. by Liliane Heker which was both rousing and sasy- ing Daa Pirare Leannot forget to mention the vst the visit of Bizarro anist Dan Piraro to ECCAD. It was a very casual afternoon inthe Faculty Lounge Sponsored by Lunatic Productions. Piraro was able to relax and chat openly with a small group of students and teachers about his ‘creative process, his relationship with his father, and whathe felt were thebenefitsof atending an exclusively s-oriented college, The time was very special, indeed. Holywod Calg ‘This early Saturday morning event explored several Planet ofthe Aris Volume 7 Issue 3 1) ' oe + Wee to bby Andrew Robulack ‘The discussion quickly developed into a conflict be tween movie making as business and film design as an ar. Poets Michael Ondaatje and Patrick Friesen boil defended the cultural dignities of film - making while ‘Tony Foster and Adrian Racside dealt with is financial aspects. It seemed fitting that literary agent Dennis ‘Bukowski was positioned atthe center ofthe panel two fof her writers are wrestling with the money vs. at DON'T PANIC READ EVERYTHING FIRST ‘onic ight ow, as their books are metamorphosized Foster, a writer from Nova Scotia, had valuable advice {for anyone who wants to see ther script produced. He seemed to dismiss, however, the idea tha art may have ‘any role to playin film - making, Friesen and Ondaatje, fon the other hand, moved to suggest that literature and film - making should be separated as different forms of ar. Ifa book is successful is there a need to recreate it visually? Or does this demean the acistc relevance of| cither medium? ‘The Poetry Bah ‘This is what the Writers" Festival is all about! To give ‘our most invaluable method of expression a popular forum. Poetry is ooignoredtoday,toosecluded amongst its own intellectual domain. The Poetry Bash atthe Writers’ Fests important because itoffers our makers ‘ofmoder verse achance io display theirskllsioa wider public. Also, to reinforce the relevance of poety as an ‘One of Canada's best, PK. Page, opened firmly and {stly, leaving no room for doubt that this would be an imense evening. She read fromher poem, ‘Deaf MuteIn Pear Tree Pale sunligh's choppy water glsiens on His mutey snipping blades ‘and flags and scraps of blue ‘above him make him regatia ofthe day ines 23 - 26) “Thepoets who followed were each hypnoting in their ‘own way, Susan Musgrave beat her words inthe air with ‘half - clenched fist, as though Keeping time to an invisible drum. The sir around her broke like water Loma Crozier was the ambiguously horny jester of sexual atitud; she read "Carros fom "The Sex Lives Carros are fucking the earth ‘A permanent erection, they push deeper Jno the damp and dark (ines 1-4) [Nadine Shelley from Salt Spring Island breathed out her verse in an almost languid fashion deep and earthy intone. Her word from some place beyond ether throat fr lungs, and the microphone was almost unable to handle them. Cleat, honest, and openly poetic, Patrick Fiesen was like a long breath of spring ar. Dennis Lee was gem, opening hs words in such away tha, judging from the audience'sresponse, hetouched everyone with sn insightful familiarity (‘Coming Becomes You’) Patrick Lane was abitmore ambiguous, his weatment of the memory of his father being very strange to me. Maybe I'm just not old (or melan- choly) enough yet. The audience ex- ploded asthe inal poet ofthe evening, ‘Sharon Olds explained where we get the term ‘The American Way’ Thad any say in this at al, I would smakethiseventa special dedicationto Chuek Cooke. Tie Page Sher. Wilson ston ake. Robert. Priest sluted water. Joe Rosenblatt buzzzzzzzzzed. This, Pat I ofthe Poetry Bash: the Performance Poets, was pethaps even beer han Prt ‘Anoher side of poetry was displayed here anesttic sie which bums and hovers and yell. Upidedown Aus- tralian, Steven Herik, vibrated and lowed fringoff words withthe force ‘of anclectric generator. He easily filled the theatre with energy, his voice bounding off the walls; he was 30 imunse I found myself laughing at words I should have been crying over. From his ‘oem Ambion’, which is for ison, Joe: forastart don't sel things don't wear a smile for people you thnk ar richer than you ‘know your hands. thow a bal against a wall util “you can hit the white dot and know why you drew that dot therein the ist place. (nest -8) A special mention here for Herick's book "Caboolture" (ive Islans Press, Australia); easy to understand, his verse is dramatic and feeling continoum. Definitely modern stuff. Ask for it at Blackberry Books. Joe Rosenblatt is one ofthis country’s premiere sound ‘poets. His bumblebee poems are intematonally re- ‘nowned and, they made up the bulk of his short set at the festival (his was the only event in which he took pat). His voiceexistedonalevelof athzoaty hum, murmuring, words which formed almost visible sound patterns. One ‘could easily imagine a bumblebee buzzing around & flower garden, Sheri D. Wilson showed two sides of herself. She ‘began witha poenvetr that she had writen toa close fiend in Seatle. His recent death spurred ths reading. ‘Second, she performed alongerpiece which ended inher reaching sexual climax by way of achocolatecake (from where I was sitting though, she was wearing underwear + a technical criticism). ‘All this should leave you looking forward to number five next year, something even bigger and better, possi- bly. Or if you can’t wait that long, keep an eye out for ‘Vancouver Writers’ Fest sponsored author readings which take place four or five times a year. And go read «book, help prove Mr. Cooke wrong.*