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An Interview with Daphne Marlatt Laura Moss Et Gillian Jerome Document généré le 29 sept. 2021 08:31 Studies in Canadian Literature / Études en littérature canadienne “Beyond the hungry edge” An Interview with Daphne Marlatt Laura Moss et Gillian Jerome Volume 41, numéro 1, 2016 URI : https://id.erudit.org/iderudit/scl41_1int01 Aller au sommaire du numéro Éditeur(s) The University of New Brunswick ISSN 0380-6995 (imprimé) 1718-7850 (numérique) Découvrir la revue Citer ce document Moss, L. & Jerome, G. (2016). “Beyond the hungry edge”: An Interview with Daphne Marlatt. Studies in Canadian Literature / Études en littérature canadienne, 41(1), 248–265. © 2016. All rights reserved. Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ “Beyond the hungry edge”: An Interview with Daphne Marlatt Laura Moss and Gillian Jerome “I think the fish like their water clean too,” she says with a dry laugh where: this outgoing river, this incoming tide mingle &meet. To take no more than the requisite, required to grow, spawn, catch, die: required to eat. — Daphne Marlatt, Steveston Put yourself inside the head of a bird as he’s flying down a channel of water. Okay. Now the image would be what you see if you’re outside on the bank looking up at him. That’s not what I’m inter- ested in. I’m interested in getting you inside his head in flight. And everything’s moving. There is no still reference point because he’s in flight, you’re in flight. Whoever’s reading. — Daphne Marlatt, Interview with George Bowering, Open Letter aphne Marlatt has long been interested in sustain- able environmental and linguistic inter-connections. In 1974, Dshe wrote of the Fraser River estuary in Steveston, “To take / no more than the requisite,” but the sentiment holds as much in her poetics and sparse writing as it does in her sustained biocentric focus. Further, in the interview below, she asks, “What do we need to be conscious of? What can’t we see, beyond the limit of our familiar perceptions and concepts? beyond the hungry edge of our personal needs, ambitions, and desires?” During the intervening forty-two years between Steveston and now, slightly longer than the time being celebrated in this issue of Studies in Canadian Literature, Marlatt has consistently reached past “familiar perceptions” in her poetry, prose, opera, editing, activism, and community engagement. She has placed the reader in flight, as she says in the interview with George Bowering quoted as our epigraph, in Daphne Marlatt 249 a position of immediacy that is sometimes unsettling and sometimes heartening. When SCL launched in 1976, Marlatt had already been writing and publishing her work for over a dozen years. She has pub- lished over twenty books of poetry and prose poetry, three novels, two oral history projects, an opera, and a collection of literary criticism. She has also been an editor for several key literary journals, includ- ing Tish, Capilano Review, periodics, and Tessera. Several times in her career, Marlatt has contributed to important writing events, including The Vancouver Poetry Conference in 1963 and the first Women and Words Conference in 1983, both in Vancouver. She has been a writer-in- residence in programs across Canada. In myriad forms, approaches, and content, Marlatt has challenged narratives of nationhood, motherhood, history, gender, consumption, and lesbian sexuality, among others. She has won many awards and distinctions for her experimental writing, including The Dorothy Livesay Poetry Prize (2009) for the novelistic long poem The Given and The City of Vancouver Mayor’s Arts Award (2008). In 2006, she was awarded the Order of Canada for her con- tributions to Canadian literature and in 2012 she received the George Woodcock Lifetime Achievement Award. A year later Talonbooks released her Liquidities: Vancouver Poems Then and Now. In 2014, Wilfrid Laurier University Press issued a selection from 40 years of her work, Rivering: The Poetry of Daphne Marlatt, edited by Susan Knutson. On a rainy winter day in 2016, Laura Moss and Gillian Jerome sat down at the University of British Columbia, where they work, to draft a series of questions to begin a conversation with Daphne Marlatt about her enormous contributions to Canadian literature, her work, her poet- ics, and the changes in literary culture. g Laura Moss/Gillian Jerome: Hello Daphne, and thank you so much for joining us via email to answer our questions. I hope we can think of this as a kind of collaboration, an electronic passing back and forth of the paper. Please feel free to take the conversation in whatever direc- tion you think is the most interesting and productive. This interview is being done on the occasion of the 40th anniversary of the journal Studies in Canadian Literature, so we want to begin by asking you to compare 250 Scl/Élc your own work in 1976 and 2016. How might a snapshot of Canadian literature, defined however you want, differ in 1976 and 2016? Daphne Marlatt: Any such snapshot would of course be subjective, and in my case, from the point of view of a West Coast poet. The 70s in Vancouver was a strongly collective decade in its movement for social and political change. There is still a very active current of socio- political poetry here, inheritors of that spirit. The 70s were a time of great experimentation in the visual arts and this affected both writing and publishing (concrete poetry, sound poetry arrived on the scene). A time of innovative new presses and little mags, of great reading series at both the Western Front and the Literary Storefront in Vancouver, as well as connections with other like-minded writers and small presses across the country, whether Coach House in Toronto or Véhicule in Montreal or NeWest in Edmonton. A very collaborative energy sparked much of this experimentation — we took pleasure in and learned a lot from collaborating with one another. In addition, the Canada Council had begun sending poets to read across the nation, as far north as Inuvik. So it was a yeast-time, a sense of breaking through the confines of what had been previously defined as Canadian poetry, Modernist Canadian poetry. This movement occurred with immense generosity, communica- tion, and innovation. The publishing industry didn’t yet view itself as an industry and, as a reader, it was still possible to keep up with many of the new releases. However, Asian Canadian writing hadn’t begun to appear. Except for Maria Campbell, Indigenous writing and publish- ing was unknown. Same for Black writing, except for Austin Clarke’s fiction. So, a smaller population then and a smaller readership with much less racial, ethnic, and linguistic diversity than we have now. It seemed more possible then to be in touch with an active and enthusiastic readership, albeit a small one, a readership aware that something newly Canadian was in the making. The collective spirit I’m talking about still exists in small pockets, but only on the fringes of a top-heavy structure of large US-branch publishers, best-sellers, and competition for big- dollar literary awards, a structure that is very much Toronto-based. And of course fiction and non-fiction, not poetry, now establish the high- water levels of the market. And then too there’s the digital revolution, which has led to more diversity in forms of self-publication, whether blogs (where a lot of critical discussion can occur) or books. Daphne Marlatt 251 LM/GJ: Let’s pause for a moment on the idea of “the digital revolu- tion.” How have changes in technology had an impact on your own writing? DM: When I bought my first PC in the 80s, I left it in its box for a year before I could bring myself to use it. I loved my Smith-Corona electric typewriter and the hands-on way I could just pencil in second- thoughts on the page even as it was still in the roller. Even now I often begin a poem on paper before transferring to screen. Of course, editing Tessera long distance, or editing anything, became so much easier with email and attachments. And writing prose is easier on screen because my handwriting can be so illegible. Then, too, a manuscript page on screen looks much closer to how it will read when published, so transferring to screen offers a good method for final editing. And, of course, I love the quick access to a huge range of information online. This makes any sort of background research a lot quicker. And there are excellent poetry blogs to read with lively commentary, but I’m still essentially a book reader. I don’t do anything on social media because it can absorb so much time, and as I’m a very slow writer I have to safeguard my writ- ing time, but it IS distressing to miss a reading because it’s only been advertised on Facebook. LM/GJ: SCL is not alone in looking back and forward right now. House of Anansi recently re-released Ana Historic, Ronsdale reprinted Steveston, Vancouver 125 re-issued Opening Doors, you published Liquidities: Vancouver Poems Then and Now — which is in part what Fred Wah calls a renovation of your 1972 collection Vancouver Poems — and a selection from your body of work, Rivering: The Poetry of Daphne Marlatt, was recently published in the Laurier Poetry Series.
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