Reading at Paragraphe Bookstore

Reading and Book Signing

Stephen Morrissey, author of Girouard Avenue and Ilona Martonfi, author of Blue Poppy will read from their new books.

When: Thursday, February 18, 2010, at 6:30 p.m.

Where: Paragraphe Bookstore, 2220 McGill College Avenue, Montreal, QC H3A 3P9

Phone: Paragraphe at 514-845-5811

Light refreshments will be served

Andy Roddick at the Roger's Cup, Montreal, 2009

Novak Djokovic at the Roger's Cup, Montreal, 2009

Rafa Nadal at the Roger's Cup, Montreal, 2009

Roger Federer at the Roger's Cup, Montreal, 2009

At a drum store in Toronto

Douglas Lochhead's Upper Cape Poems

Here is the review of Douglas Lochhead's Upper Cape Poems that I wrote in 1990. The original article also included reviews of five other poets; they are Cathy Ford, R.A.D. Ford, Lee, Singleton, and Wayman.
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Review by Stephen Morrissey
The Antigonish Review, no. 81-82
spring-summer 1990


While our society has become increasingly transient, some poets remind us of how important geography is to the individual's spiritual well-being. Douglas Lochhead's Upper Cape Poems celebrate the Tantramar marsh region between New Brunswick and Nova Scotia; they show how familiarity with a geographical region need not lead to boredom with that area, but possibly to a greater awareness of life's diversity and the individual's inner life. Lochhead's poems are simple, direct, and extremely concise; his language has a definite rhythm that is never dull. There is no inflated ego in this work; indeed, there is an attractive understatement of both theme and emotion. In one poem he writes:

For months
leading to years
I counted you
my love
not saying much
because quite frankly
I am not much
good at it.

Once I did
say something
the white wine
was part of it,
you said it was mutual.

Now your silence
from this distance
deafens my days
I find the only way
to forget is to douse
myself in the shower
and curse.

Oh yes,
I blast myself
more often than you.

Unlike many poets, Lochhead is capable of changing the rhythm of his language. He is not a one-dimensional poet with only one song in her repertoire. "Tantramar, again, again" ends with these lines that give a feeling of actually being at the marsh:

gone great wind gone down
now to stillness and full July grasses
where they stood scything
stifling the wood never left them
gone though gone and great it was.

These poems bear repeated readings; this is only one indication that his work demands our attention. In "The woods" Lochhead writes:

I walked into the woods
all nearby to be seen
from the kitchen window
wild raspberry canes
brought blood to my arms
the brook was deceptive
leaving my feet mud brown

where there were birds
they vanished in alarm
the birds I had named
given my time

and the woods filled
with a new silence
the maples shading red
as the blood on my arm

it was the going in
to the woods
the neat place
I had thought tamed

but it brought blood
and a new kind of life

Lochhead's poems demand an aesthetic response, not only an intellectual analysis of his themes and ideas. A few of the poems in this book are transparent, their absence would not have detracted from the overall effectiveness of Upper Cape Poems. Lochhead's poems are a psychic map of one man's journey through life, always paying strict attention to the detail of his place and time. In Lochhead's faithfulness to detail we discover the human poet behind his words, but we also make a second, equally important discovery: it is our own self grown more human as we see life and experience compassionately revealed in these poems.

Douglas Lochhead's new book, review

Painting by John Hammond, 1905; Hammond was based in Sackville, New Brunswick

Looking into Trees, by Douglas Lochhead 

(Sybertooth Inc., Sackville, New Brunswick, 2009) 

Review by Stephen Morrissey 

Go wind, go green, go move it into great shiftings “looking into trees” Douglas Lochhead’s extensive body of work shows a lifelong dedication, passion, and commitment to poetry. The poems in Lochhead’s new book, Looking into Trees, as one finds in his other books, are pared down and concise. As the title suggests, we may look into trees, but what do “trees” suggest, what do they mean to the poet and to the reader, what is our meditation on trees? As an archetype “trees” have always interested me, beginning with my own first book of poems, The Trees of Unknowing (Vehicule Press, Montreal, 1978). First, one thinks of the roots of trees, of being rooted in the ground of our existence, the physical, the earth from which life generates. There is also another aspect to trees, there are the trees’ branches that reach into the sky, into the heavens above us. Trees, then, suggest both the physical world and the spiritual realm. Trees also suggest a meeting of the two worlds, the material and the spiritual, the human and the divine. 

Indeed, Looking into Trees is a wonderful and evocative title. It is not looking at trees, which is a passive act, but looking into trees which suggests an investigation— “I will look into the situation”—this also suggests taking care of a situation that requires some open-ended study. Four poems in Lochhead’s book stand out, they are those entitled “Exhibits for the Lord,” numbered one to four. These poems give the reader a portal through which to enter into both the poetic and spiritual experience. This perception is an awareness of the presence of God in Lochhead`s daily life. When is God present to us? In the poems, God is present all the time. In the first poem, the “exhibits” are in the form of a morning and evening walk and seeing flowers growing in people’s gardens, these are all “exhibits for the Lord.” There is an ambiguity in this: are they exhibits or evidence for the presence of God, or are they what we present to God as an exhibit, or evidence, of our belief in Him? The second poem’s exhibit is that of the presence of children. In this poem we move from the world of experience to the uncorrupted world of a child’s innocence, and this is a cause for prayer. Prayer in this poem is not the ostentatious exhibition of ego that Jesus warned against, but spontaneous prayer that is a conversation with God. I am told that Einstein did not believe in God, but he nevertheless engaged in an on-going conversation with God. Prayer, then, is a conversation with the Divine. 

An experience of God, it seems to me, comes uninvited, unannounced, in God’s own time. We wander, as I have done, in the exile of a self-made desert until we return to God, as I have also done. Exhibit three presents this to us. It is sometimes enjoyable to read a detective novel, to be distracted when we can`t sleep. This, however, might also be the time when God makes His presence felt; Lochhead writes, “... words took me up saying REJOICE/ and it was God’s day again…” The fourth exhibit reminds us that in our daily living—the “Holy Living,” and “the slide rule possibility of Holy dying”—there is the constant presence of rejoicing, for one who is living in the presence of God is also rejoicing that God is in his life. The reproductions of paintings in Looking into Trees, by Kenneth Lochhead (Douglas Lochhead’s brother), who is an eminent visual artist in his own right, enhance the poems in the book. The paintings present a similar vision of life as one finds in the poems, and they show that, as I have always believed, poetry and visual art have more in common than poetry and other genres of written expression, for instance the novel. 

Notes: 1. My review of Douglas Lochhead’s Upper Cape Poems (Goose Lane Editions, Fredericton, 1989) appeared in the Antigonish Review, nos. 81-82, spring-summer 1990. 2. I also recommend these other books by Douglas Lochhead: Collected Poems: The Full Furnace (1975) A & E (1980) The Panic Field (1984) The Tiger in the Skull, New and Selected Poems 1959 – 1985 (1986) Upper Cape Poems (1989)

At the Getty Museum in Los Angeles

It's thirteen years since we visited the Getty Museum in Los Angeles (back at Christmas, 1997) but I still consider it one of the most impressive museums I have visited. Everything about the Getty seems perfect, at least to the visitor who is made to feel most welcome. What a wonderful experience, to visit a Roman villa, fully restored and containing a wonderful collection of Roman and other art.