Gil McElroy
Ordinary Time
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Gil McElroy
Ordinary Time
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Perfect for those pursuing the new trend in academia: the cross over between sciences and art: McElroy incorporates string theory.
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Perfect for those pursuing the new trend in academia: the cross over between sciences and art: McElroy incorporates string theory.
Produktdetails
- Produktdetails
- Verlag: Talonbooks
- Seitenzahl: 112
- Erscheinungstermin: 1. November 2011
- Englisch
- Abmessung: 226mm x 152mm x 10mm
- Gewicht: 227g
- ISBN-13: 9780889226753
- ISBN-10: 088922675X
- Artikelnr.: 33286463
- Verlag: Talonbooks
- Seitenzahl: 112
- Erscheinungstermin: 1. November 2011
- Englisch
- Abmessung: 226mm x 152mm x 10mm
- Gewicht: 227g
- ISBN-13: 9780889226753
- ISBN-10: 088922675X
- Artikelnr.: 33286463
Born in Metz, France, poet Gil McElroy grew up on air force bases in Canada and the United States. He studied English Literature at Queen¿s University in Ontario. His poems and other works have been published in countless periodicals throughout North America since the late 1970s; issued in a number of self-published chapbooks, broadsheets, and one-of-a-kind book works; and anthologized in Groundswell: best of above/ground press, 1993¿2003 (Broken Jaw Press, 2003), Side/Lines: A New Canadian Poetics (Insomniac Press, 2003), and Written in the Skin (Insomniac Press, 1999). He currently lives in Colborne, Ontario with his wife Heather. McElroy has also been an independent curator and freelance art critic for 20 years, organizing exhibitions for public art galleries and museums in Canada and writing art criticism for magazines in Canada, the United States and Australia. A selection of his catalogue essays and reviews was published as Gravity & Grace: Selected Writing on Contemporary Canadian Art (Gaspereau Press, 2001) and in the anthology CRAFT Perception and Practice: A Canadian Discourse (Ronsdale Press, 2002). His show ST. ART: The Visual Poetry of bpNichol pays tribute to one of the great poets of the twentieth century. Originally mounted at the Confederation Centre Art Gallery & Museum in Charlottetown, P.E.I. in May through October, 2000, it later moved to the Art Gallery of Nova Scotia before touring the country throughout 2001. McElroy¿s curatorial essay accompanying the exhibition also won the Christina Sabat Award for Critical Writing in the Arts.
Book Structure:
1) Some Julian Days comprises poems that employ the cumulative dating of
the Julian Day system as an overarching structure within which the poetics
of saggital time are evoked.
2) The excerpt from the poem sequence Ordinary Time (an ongoing piece
inspired by Charles Olson's poem "In the Hills South of Capernaum, Port")
works with the structure of the Anglican lectionary and its cycle of daily
and weekly readings (called "propers") from the Hebrew Bible and the New
Testament to manifest the poetry of a portion - an arc, if you will - of
the complete two year-long cycle of readings from sacred texts.
3) Imaginary Time escapes from all of that, deferring both the immediate
contexts of the narrative arrow and eternally cyclic.
1) Some Julian Days comprises poems that employ the cumulative dating of
the Julian Day system as an overarching structure within which the poetics
of saggital time are evoked.
2) The excerpt from the poem sequence Ordinary Time (an ongoing piece
inspired by Charles Olson's poem "In the Hills South of Capernaum, Port")
works with the structure of the Anglican lectionary and its cycle of daily
and weekly readings (called "propers") from the Hebrew Bible and the New
Testament to manifest the poetry of a portion - an arc, if you will - of
the complete two year-long cycle of readings from sacred texts.
3) Imaginary Time escapes from all of that, deferring both the immediate
contexts of the narrative arrow and eternally cyclic.
Book Structure:
1) Some Julian Days comprises poems that employ the cumulative dating of
the Julian Day system as an overarching structure within which the poetics
of saggital time are evoked.
2) The excerpt from the poem sequence Ordinary Time (an ongoing piece
inspired by Charles Olson's poem "In the Hills South of Capernaum, Port")
works with the structure of the Anglican lectionary and its cycle of daily
and weekly readings (called "propers") from the Hebrew Bible and the New
Testament to manifest the poetry of a portion - an arc, if you will - of
the complete two year-long cycle of readings from sacred texts.
3) Imaginary Time escapes from all of that, deferring both the immediate
contexts of the narrative arrow and eternally cyclic.
1) Some Julian Days comprises poems that employ the cumulative dating of
the Julian Day system as an overarching structure within which the poetics
of saggital time are evoked.
2) The excerpt from the poem sequence Ordinary Time (an ongoing piece
inspired by Charles Olson's poem "In the Hills South of Capernaum, Port")
works with the structure of the Anglican lectionary and its cycle of daily
and weekly readings (called "propers") from the Hebrew Bible and the New
Testament to manifest the poetry of a portion - an arc, if you will - of
the complete two year-long cycle of readings from sacred texts.
3) Imaginary Time escapes from all of that, deferring both the immediate
contexts of the narrative arrow and eternally cyclic.