A Girl Called Echo. Here love is defined as a force of reclamation and repair in times of trauma, and trauma is understood to exist within all times. Under her consideration, this connection, which is the heartbeat of the book, transcends metaphor, becoming more […]
Katherena Vermette's debut novel The Break was a contender for the Canada Reads 2017 title, but the writer's roots are in poetry. She grew up in the Winnipeg's North End, Manitoba, a neighbourhood distinguished by a relatively high population of Indigenous Canadians (approximately.
She is also the author of the children's picture book series, The Seven Teachings Stories (Highwater Press) and the young adult graphic novel series, A Girl Called Echo (Highwater Press).
Governor General’s Award–winning Métis poet and acclaimed novelist Katherena Vermette’s second work of poetry, river woman, examines and celebrates love as postcolonial action. Vermette is of Métis descent and originates from Winnipeg, Manitoba.She was a MFA student in creative writing at the University of British Columbia.. North End Love Songs.
[11] The series depicts Indigenous children in a metropolitan context, fostering a sense of representation for historically and continually marginalized Indigenous groups,.
[7], In 2015, she and Erika MacPherson co-directed a 20-minute National Film Board of Canada documentary, This River, about Canadian indigenous families that have had to search for family members who have disappeared. The above line continues: “beyond them // she stretches out / into the grassland / marshes / pelicans rest / gulls call / to her slowing spirit” (36). If North End Love Songs and The Break hadn’t already convinced you to preorder whatever Katherena Vermette does next, river woman should do just that. you have to dig (63). House of Anansi Press, September 2018, 112pp., $19.95
[4], Vermette is a member of the Aboriginal Writers Collective of Manitoba, and edited the anthology xxx ndn: love and lust in ndn country in 2011.[5]. by Katherena Vermette Governor General’s Award–winning Métis poet and acclaimed novelist Katherena Vermette’s second work of poetry, river woman, examines and celebrates love as postcolonial action. Award-winning poet Katherena Vermette Vermette is known primarily for her poetry, although she is also a writer of prose. [2], Vermette’s first published volume of poetry, North End Love Songs, functions as an ode to the place she grew up,[10] Winnipeg’s North End, and her intimate perspective on a place that is looked down upon for its high levels of reported crime. Her second book of poetry, river woman (House of Anansi) was released in the fall of 2018.
The poems are grounded in what feels like an eternal present, documenting moments of clarity that …
[8], Except where noted, bibliographical information courtesy WorldCat.[16]. 25%), primarily First Nations and Métis people. “riverdown” flows into “riverevening,” which flows into “riverlove.” … It is a beautiful and resonant book.
Take your favorite fandoms with you and never miss a beat. Each year, a distinguished guest editor (2008, Stephanie Bolster; 2009, A.F.
Her novel, The Break (House of Anansi) was bestseller in Canada and won multiple awards, including the 2017 Amazon.ca First Novel Award. This idea of breaking apart and coming back together is woven throughout the collection as the speaker revels in the physical pleasures of learning Anishnaabemowin (“the language / I should have already known”), as she contemplates the ongoing negotiation between the natural world and urban structures, and as she finds herself falling into trust with the ones she loves. truth is a seed Like the river they speak to, these poems return again and again to the same source in search of new ways to reconstruct what has been lost. Vermette writes with the spiritual yearning of Leonard Cohen: “because we are / broken / there are cracks / in us / where the dark / gets in” (28); the place-based precision of John K. Samson: “where planted trees and avenues / align our little lives / with shade / and century old buildings tell / the story of a different city / a hopeful one” (76); the reckless love of Joni Mitchell: “you break me / shatter the pieces / left / I have become / a fine dust / I can so easily / blow away” (19-20); and, in her ability to make the reader feel and understand the consequences of injustice and oppression, the integrity and conviction of Buffy Sainte-Marie: “they let us use the names of our dead / as if that means / we’re allowed to honour them” (87).