Erín Moure

Planetary Noise


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Little Theatres (2005)

      from Eight Little Theatres of the Cornices, by Elisa Sampedrín 89

       “Theatre needs hope” quote from Elisa Sampedrín 94

       from The First Story of Latin (os araos) 95

       from Late Snow of May—poemas de auga 97

       O Cadoiro (2007)

       “I ll never master the art of poetry. I” 98

       “The world s not a home I can swear allegiance to” 99

       “Mother, keep me from going to San Seruando, because” 100

       “If I see the ocean, it flows” 101

       “I m not pleading any thread of love” 102

       “That day I lost your ring” 103

       devenue le sujet spectral : L´YRIC POETR´Y 104

       “I m going to walk to the mountain. As if” 106

       RESONANT IMPOSTORS: Expeditions of a Chimæra (2009) 107 Oana Avasilichioaei and Erín Moure from “Airways”

       AN ABSOLUTE CLAMOROUS DIN (Ukrainian Cycle) 113

       O Resplandor (2010)

       Evocation 115

       Splay with a Stone 116

       from Crónica One 117

       Doubled Elegy, Ethical 120

       “break simply with grief’s cane” 121

       The Unmemntioable (2012)

       “Doors screen wet …” 130

       Heroides 131

       “The Photographer of emigrants.” 132

       “What is that Erín Moure writing…” 133

       “In her spires of ink…” 134

       “It occurs to me that I must write E.M.’s poems…” 135

       Ars Amatori 136

       Consolatio ad L’vivium 137

       “Experience appears in this world…” 138

       Kapusta (2015)

       from Act 2, Scenes 2 and 3 “Something is trying to crawl…” 139

       Surgery Lessñn 142

       POLYRESONANCES (Transborder Noise) 147

       from Insecession (an echolation of Chus Pato’s Secession, 2014)

       The House Which Is Not Extension but Dispositio Itself 149

       Works of Other Poets in Moure Translation

       Chus Pato (Galicia), from “We Wish We Were Birds …” 151

       Andrés Ajens (Chile), “so lair storm, inti myi semblable.” 153

       Wilson Bueno (Brazil), “one dusk après une autre” 154

       Nicole Brossard (Québec), “Suggestions Heavy-Hearted” 155

       Emma Villazón (Bolivia), “Wavering Before The Water” 156

       Chus Pato (Galicia), from “While I’m Writing” 157

       Rosalía de Castro (Galicia), “Today or tomorrow…” 158

       Fernando Pessoa (Portugal), “XI Some Woman Out There Has a Piano” 160

      EMIT Postface by Erín Moure 163

       Acknowledgments and Credits 169

       Bibliography 171

       Works Cited 171

       Further Reading 176

      Erín Moure: Poetry as Planetary Noise

      This is intertextuality where we are a very small part of the intertext in the planetary and inter-planetary ecology … Relativity, probability, chance—we are their subjects and they are ours. PHYLLIS WEBB1

      Erín Moure is one of English North America’s most prolific and daring contemporary poets. Her work in and among languages has altered the conditions of possibility for poets of several generations—myself included. With her ear tilted close to the noise floor, Moure listens for patterns arising from contemporary Englishes and from “minor” languages such as Galician, and shifts language structures away from commerce so as to hear other possibilities, other tensions. In so doing, subjectivity, justice, and politics can be considered anew. Moure’s work is transnational in scope; her lines transit from one articulated locality to arrive at or include another. Her poems attend, in various registers, to bodily capacities and fragilities as much as to the operations of power. Moure’s poetry travels joyously through noise, and sometimes even as noise, via various channels and contexts, refusing absorption. For Moure, “Poetry is a limit case of language; it’s language brought to its limits (which are usually in our own heads) where its workings are strained and its sinews are visible, and where its relationship with bodies and time and space can crack open” (Montreal Review of Books). Facing a Moure poem as a reader, I appreciate the disquieting rhythms, sudden symmetries, outlandish puns, and general pleasure caused by roiling syntax and audacious neologisms. Even without knowing the majority of the languages that Moure draws on, I am compelled by the sounds and echoes that her poems amplify, and the patterns of letters and words that they make visible on the page.

      Moure’s work is critically acclaimed, and her fourth book, Furious (1988), won the Governor General’s Award for Poetry—Canada’s most prestigious national poetry award at that time, an equivalent of an American Pulitzer Prize. As of 2016, Moure’s oeuvre includes seventeen collections of poetry (one collaborative), several chapbooks, a collection of essays, My Beloved Wager: Essays from a Writing Practice (2009), and a biopoetics, Insecession, that sonically relocates Chus Pato’s Secession. In addition, Moure has translated works of poetry, theatre, literary criticism, and creative non-fiction from four languages—French, Galician, Spanish, and Portuguese—into English. As with her own work, her translations and essays are trailblazing and often push the boundaries of form and test the ideological limits of these discursive practices. Her other accolades include the Pat Lowther Memorial Award for Domestic Fuel (1985), and the A.M. Klein Award