Recently discovered Sonja Skatstedt Interview notes, on knowing Louis Dudek

The following essay, Sonja Skarstedt's notes for an interview on CBC radio, was published on 02 October 2026 at periodicities : a journal of poetry and poetics.

Robert Creeley, Michael Andre, and Sonja Skarstedt, c. 1993, New York City

Sonja Skarstedt on Louis Dudek

 

by Stephen Morrissey

I first met Sonja Skarstedt and her husband Geof Isherwood around 1990 when they visited my home near Huntingdon, Quebec; a few years later Sonja began Empyreal Press, she had been a student of Louis Dudek at McGill University in the early 1980s and later she became a friend and then a supporter and publisher of Louis' last books.

Louis was a great supporter of Sonja's poetry. Louis often wrote personal inscriptions in his books: in Atlantis, he wrote "For Sonja Skarstedt, with admiration for your fine talent"; in The First Person in Literature he wrote, "For Sonja Skarstedt, Excellent poet!"; in 1982, in Continuation 1, he wrote, "For Sonja, great expectations for your own work!"; he could see that she was a genuine poet and someone worth encouraging. She was a poet, a playwright, a publisher, and a visual artist. Her passing, in 2009, was a great loss for Montreal poetry and a personal loss for many of us.

A few weeks ago I was writing an essay in which I referred to the Louis Dudek issue of Open Letter (spring and summer 1981); my second copy of this had belonged to Sonja and I found two sheets of paper, written in Sonja's handwriting in March 1991, in the pages of this issue. They were her preparatory notes for Dave Bronstetter's afternoon home run programme broadcast daily on CBC radio, in which Sonja was interviewed with Louis, explaining his influence on younger poets and her memories of being one of his students.

Below, I have transcribed Sonja's notes for this interview so that they will be easier to read; this is Sonja's text, her hand lettering, including spelling noting strikethroughs; I wanted the transcription to be accurate to Sonja's original text. Louis had a profound influence on his students; many of us who were in Louis' classes went on to literary or teaching careers, or we were influenced in other life choices. Susan Stromberg-Stein, who was in Louis' graduate seminar with me in 1974-1975, wrote for her MA thesis Louis Dudek, A biographical Introduction to his Poetry (published by Golden Dog Press in 1983); Susan is a prominent sculptor whose work is widely exhibited. One day in 1975, I visited the English Department staff lounge at McGill and I remember seeing Louis and Laurence Hutchman sitting together editing and discussing Laurence's first book of poetry, Explorations (1975), published by Louis' DC Editions; Laurence's Swimming Toward the Sun: Collected Poems 1968-2018 was published in 2020. Louis Dudek supervised Ken Norris's PhD dissertation on the development of modernism in little magazines in Canada; Ken's place in Canadian poetry is secure considering his large body of work. Louis published first books of poetry for Leonard Cohen and Daryl Hine, both had been his students at McGill; Cohen's Let Us Compare Mythologies (1956) was highly acclaimed while Hine became editor of the prestigious Poetry (Chicago) from 1968-1978. Dudek's influence is extensive; I suggest reading Louis Dudek, Essays on his Works, edited by George Hildebrand (Guernica, 2001) and Robin Blaser's introduction to Infinite Worlds, the poetry of Louis Dudek (1988).

Sonja's notes record her experience as a young poet, her formative years as a writer, and her appreciation of Louis Dudek. After Louis' passing in 2001, Sonja edited, with Louis's widow Aileen Collins and his old friend Michael Gnarowski, Eternal Conversations: Remembering Louis Dudek (DC Books, Montreal, 2003); for some of us the eternal conversation continues.

 

                                                            Stephen Morrissey

                                                            29 September 2026

(Page one, handwritten by Sonja Skarstedt)    

 

 Sonja A. Skarstedt (her signature)                             Prep. Notes for Dave Bronstetter's

                                                                                    CBC Home Run

                                                                                    (Interview w/ L. Dudek

                                                                                    & SAS   March 1/91 (written in                                                                                                                                              pencil)

 

 

How has Louis Dudek influenced you?

 

As a "renaissance" individual: his words and actions convey the message: don't waste any of your potential, whether your talents are singular or multi-dimensional. Louis of course has branched out into many fields, from poetry (at the center of it all) to essays, teaching, broadcasting, translating, publishing, editing… bound together by enthusiasm.

 

I've always been obsessed by words, (whether) written down and bound in beautiful volumes—whether spoken or invented. I write poetry and edit Zymergy—which I may have been doing if I'd not encountered Louis. However, his stamp on the importance, the vitality of literature in this country—would have been unavoidable. "Hearing" this vitality firsthand then, has made the purpose of putting out everything as caustic as a literary magazine more plausible, more necessary.

 

I first encountered the name of Louis Dudek in Endre Farkas's History of Montreal Poets at John Abbott College. He was included in the Smith-Scott-Klein category (if these can be called a category!), his poetry briefly covered. During my first year at McGill I was combing the Gazette's book section & came across an article on the Vehicule Poets. I was impressed by the writer's wit, the bouncing from one name or element to the next (while remaining in context). "Louis Dudek," I noted, remembering the name from somewhere at McGill, "if he can teach as well as he writes…what a phenomenal way to learn!" I went to the McGill course directory & was delighted to see "Canadian Literature" Louis Dudek, prof/. (that review found now: The Defense of Art)

 

I've always gravitated to art, graphic & comic books as opposed to classics; after attending the second or third class of Dudek's, I noted that I was making elaborate doodles not only in the margins but in the middle of my notes. It certainly wasn't boredom—every word of the lectures was sinking in, flipping around in my imagination then re-emerging in the form of detailed birds, profiles and experimental lines. Next class, I brought with me a pad of vellum art paper and my drafting pens: I might as well conduct a full-scale experiment!

 

(Page two, handwritten by Sonja Skarstedt)

 

—How has Louis' poetry changed (40s vs. 80s e.g.)?

There is less formality, I think, although the same questioning, philosophical voice is there. There might be a grain more pessimism, a mellowered anger.

—Aserbic?

Louis I think pours whatever acid he wishes to convey into his essays & articles rather than the poetry. Even in EPIGRAMS the barbs are gentle, presented with humour & wit rather than Layton-esque vinegar!

—Does Louis differ from Scott, Klein, Smith ... how?

They somehow belong in a category, perhaps generation, of their own. One sees Dudek as either on his own, or within (a word here is illegible and with strikethrough) Laytons the same era as Layton. Layton & Dudek = twins, nonidentical yet pulled from the same musing ribcage.

Scott, Klein & Smith might be viewed as more (overtly) political (religious or mytho-traditional.) Their main preoccupation might be the jabbing and spearing of political monsters. With Dudek & Layton, the "monsters" can be found in ourselves, in sociology, psychology. The terrain is trickier.

Louis' voice is gentler, & his mind is the launching-pad for the universe of perplexities, imperfections.

Elements of this universe: the sea, movement, the sky, emotions,

                                               LOGIC, auroras, creatures (from octopito an

                                                                        "Octopus w/saucer-like suckers"

                                                            to "the weeping beech/ hanging like a great

                                                                                    pavillion") Atlantis

                                                                                                                

rhymes not as frequent, more "everyday" conversation

* ("why don't you," he once suggested), "take out a pen & paper

 when you're in the cafeteria or some such place, & write down what you hear, slivers of chit-chat, whatever ... & see if you can make a poem out of that?"

* the Ogilvy's rose

* Phyllis Webb: rare books & rich enthusiasm over an interview.

"Who knows ..." he would pause, staring into the rows of faces in his classes, who knows which of you sitting in this room will someday become famous, produce something astounding & enrich the human race ... who knows? But we all must try ..."

* CBC reading poetry w/ Jane Lewis. Enthusiasm over poetry: honesty ("try prose!)

Page one of two

Page two of two

Note: Geof Isherwood informs me that today, on which this essay was published, is Sonja`s birthday, she would have been 66 years old. I didn't know this in advance, it is a coincidence.