Bøger af Sina Queyras

From LAMBDA Literary Award winner Sina Queyras, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mindThirty years ago, a professor threw a chair at Sina Queyras after theyd turned in an essay on Virginia Woolf.Queyras returns to that contentious first encounter with Virignia Woolf to recover the body and thinking of that time. Using Woolfs A Room of Ones Own as a touchstone, this book is both an homage to and provocation of the idea of a room of ones own at the centre of our idea of a literary life.How central is the room? And what happens once we get one? Do we inhabit our rooms? Or do the rooms contain us? Blending memoir, prose, tweets, poetry, and criticism, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind, and from a very private life of the mind to a public life of the page, and from a life of the page into a life in the Academy, the Internet, and on social media.With Virginia Woolf alongside them, Queyras journeys through rooms literal and figurative, complicating and deepening our understanding of what it means to create space for oneself as a writer. Their hard-won language challenges us to resist any glib associations of Woolfs famous room with an easy freedom. Inspiring and moving, Queyrass memoir testifies to Woolfs continuing generative power.Mark Hussey, editor ofVirginia Woolf's Between the Acts(2011) and author ofClive Bell and the Making of Modernism(2021)In this beautiful, perceptive book, Sina Queyras moves deftly between the words and wake of Virginia Woolf and their own formation as writer, lover, teacher, friend, and person.Roomsis expert in its depiction of personal and literary histories, and firmly aware of its moment of composition. Reading these pages, I was enticed by Queyrass curiosity and openness, thrilled by the sharp edges of their anger. Tight prose, electric thinking, self-discovery its all here, all abuzz.Roomsis alive. Heather Christle, author ofThe Crying BookIt is impossible not to question the world as we thought we knew it by the end of this book. Sina Queyras painstakingly aims their extraordinary nerve and talent at Virginia Woolfs idea of a room of ones own: 'Its a mistake to consider the room without all of its entanglements.' Taking Woolfs cue, Queyras explores writing that is not world-building but something far more generous and transformative; as Woolf wrote, 'Literature is open to everybody.' CAConrad, author ofAMANDA PARADISE: Resurrect Extinct Vibration

A poem-by-poem revisioning and engagement with Sylvia Plath's Ariel and the towering mythology surrounding it.

This collection brings together representative work from Sina Queyras's poetic oeuvre. Queyras is at the forefront of contemporary discussions of genre, gender, and criticism of poetry. Her influential blog-turned-literary-magazine, Lemon Hound , published up-and-coming writers as well as work by established literary figures in Canada and abroad. The title, Barking & Biting, makes reference to the tagline of Lemon Hound: "e;more bark than bite."e; Erin Wunker's introduction situates Queyras's poetry within ongoing debates around genre and gender. It suggests that Queyras's writing, be it literary critical, poetic, or prose, is precise and probing but avoids toothless critical positioning. It pays particular attention to Queyras's poetic innovations and intertextual references to other women writers, and suggests that read together Queyras's oeuvre embodies an engaged feminist attentionwhat Joan Retallack has called a "e;poethics,"e; where poetry and ethics are bound together as a mode of inquiry and aesthetics. Queyras's poems trace a consistent concern with both poetic genealogies and the status of women. Thus far, twenty-first century poetics have been preoccupied with two ongoing conversations: the perceived divide between lyric and conceptual writing, and the underrepresentation of women and other non-dominant subjects. While these two topics may seem epistemologically and ethically separate, they are in fact irrevocably intertwined. Questions of form are, at their root, questions of visibility and recognizability. Will the reader know a poem when she sees it? And will that seeing alter her perception of the world? And how is the form of the poem altered, productively or un-, by the identity politics of its author? These are the questions that undergird Queyras's poetry and guide the editorial selections. Queyras's poetics pay dogged attention to questions of both representation and genre. In each of her poetry collections she inhabits tenets of the traditional lyric but leverages the genre open to let conceptualism in. This is demonstrated in her afterword, "e;Lyric Conceptualism, a Manifesto in Progress,"e; which was first published on the Poetry Foundation's Harriet the Blog . In it Queyras puts forward a set of maxims about the possibilities of a new hybrid, the conceptual lyric poem.

"e;Queyras' novel scores the jagged incisions of childhood. How her characters escape or embrace or succumb to the damage, she manages through an exquisite prose that cannot comfort them, nor ease us. Yes we cannot help but be held by the language."e;Dionne Brand Five siblings, all haunted by the death of a brother in their youth. One winter day, when another of them will be taken by cancer. Guddy is struggling to fly across the continent in a snowstorm to see her sister while she still can. Jerry, avoiding the phone, hits the highway, driving as fast as he can away from his back pain and his son. Bjarne, just back from six years on the streets, is watching Judge Judy, trying to quiet the voices in his head. Annie is cleaning her mother's trailer and ducking her questions. And then there's Therese, trying to forgive them all before it's too late. As all five are forced to reactor to choose to not reactto the news of Therese's impending death, their actions weave a nuanced portrait of a family, of the devastating reach of childhood grief. What if thinking is all we have at the end of the day? This transcendent first novel from award-winning poet Sina Queyras tells the story of childhood by recreating the mind at work grappling with it: noticing, reaching, loving, and flailing. Sina Queyras' last collection of poetry, Expressway, was nominated for a Governor General's Award and won Gold at the National Magazine Awards. Her previous collection Lemon Hound won a Lambda Award and the Pat Lowther Award, and she is the winner of the 2012 Friends of Literature Award. She is a blogger for Harriet, the Poetry Foundation's blog.

This poem resembles urban sprawl. This poem resembles the freedom to charge a fee. The fee occurs in the gaps. It is an event. It is not without precedent. It is a moment in which you pay money. It is a tribute to freedom of choice.Reality is a parking lot in Qatar. Reality is an airstrip in Malawi.Meanwhile the expressway encloses, the expressway round and around the perimeters like wagon trains circling the bonfire, all of them, guns pointed, Busby Berkeley in the night sky.Expressway exposes the paradox of modern mobility: the more roads and connections we build, the more separate we feel. Sina Queyras has written a bravely lyrical critique of our ethical and ecological imprint, a legacy easily blamed on corporations and commerce, but one we've allowed, through our tacit acquiescence, to overwhelm us. Every brush stroke, every bolt, and nut, every form and curve in our networks of oil and rubber, every thought and its material outcome each decision can make or unmake us.

2007 Winner of the Pat Lowther Award and a Lambda Literary AwardAs meditative practices focus on the axis of breath, these poems focus on the moment of action, of thought, on the flux of speech.This is a poetry not of snapshots or collages but of long-exposed captures of the not-so-still lives of women. One sequence imagines Virginia Woolfs childhood; another unmakes her novel The Waves by attempting to untangle its six overlapping narratives. Yet another, On the Scent, makes us flneurs through the lives of a series of contemporary women, while The River Is All Thumbs uses a palette of vibrant repetition to paint a landscape.Queyrass language astute, insistent, languorous repeats and echoes until it becomes hypnotic, chimerical, almost halluncinatory in its reflexivity. How lyrical can prose poetry be? How closely can it mimic painting? Sculpture? Film? How do we make a moment firm? These postmodern, postfeminist poems pulse between prose and poetry: the line, the line, they seem to ask, must it ever end?Sina Queyras's latest collection of poetry, Expressway, was nominated for a Governor General's Award and won Gold at the National Magazine Awards. Her previous collection Lemon Hound won a Lambda Award and the Pat Lowther Award. She has taught creative writing at Rutgers, Haverford and Concordia University in Montreal where she now resides.

The follow-up to "2002's sexiest book of poetry" ("Prairie Fire").