Items related to Post-Apothecary

Post-Apothecary - Softcover

Ridley, Sandra

 
9781897141458: Post-Apothecary

Synopsis

Sandra Ridley was a finalist for the Robert Kroetsch Award for Innovative Poetry in 2009. Of her new work: "In minimal and carefully chosen language, Ridley mesmerizes. Each poem pays heed to the senses. When necessary, Ridley troubles syntax , but not in a heavy-handed way. Lines are built and broken, based on rhythm, image, sound. Ridley gives us mood, tone and exquisite detail enough to allow us to be compelled by her characters, but she hasn't gone overboard. She's given us spaces to fill in for ourselves." (Ottawa Poetry Newsletter) | Ridley: "

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Review

1. Ridley's poems veer from the terrifying to the tender, the comic and the apocalyptic, the ironic to the philosophical, and the cosmic to the domestic -- often within the same poem. This is an energetic and entertaining new voice in Canadian poetry both insightful and playful by turns. At the heart of *Fallout* is an elegiac tone that points to a more hopeful future. The book ends with an award winning sequence of ghazals written about the death of a young sister that leaves the reader breathless. - ELIZABETH PHILLIPS 2. Rest Cure by Sandra Ridley At long last I've had the opportunity to sit for a reasonable length of time with Rest Cure by Sandra Ridley (Apt. 9 Press, 2009). I suppose the primary question this long poem asks is how close to complete stillness can you get and still navigate a poem? It starts with a reliance on a propulsive and conjunctive language: Before running on nightshade & wormwood in a topiary maze. Before hawthorn punctures her arm: poison tipped. Before a peck of stones, she handpicks or pockets, she is camphor-doused& blindedby a fold of wool: wet & held tight to her eyes. The propulsion of "before" and the conjunctive "&" placed in a minimal context circling a present stillness that draws it up to a halt. If you get the thing done right as Ridley does here and as you might find, for example in much of the work of Anne Carson, what you get is a body that gives off a glow. An energy cast, appropriately, into a straightjacketing form that nonetheless beats at it, again appropriately, like blood through a vein. Beats against it and withdraws, and then repeats. Done repeatedly there's a structure of reverberation that affects every subsequent line exponentially. One of the things this allows the poem to do is to paradoxically expand its meaning as it progresses, even as the forms apparent on each page begin to contract, moving more and more closely to stillness, to individual heavy lines, to some that may fragment under their own weight, or

About the Author

Multiple-award-winning poet, instructor, and editor Sandra Ridley is the author of three books of poetry: Fallout (winner of a 2010 Saskatchewan Book Award and the Alfred G. Bailey Prize); Post-Apothecary (finalist for the ReLit and Archibald Lampman Awards); and The Counting House (published by BookThug in 2013; finalist for the Archibald Lampman Award and chosen as one of the top five poetry books of 2013 in Quill & Quire's Readers' Poll). Her new book of poetry, Say Mercy, is forthcoming from BookThug in the fall of 2016. In 2015, she was a finalist for the KM Hunter Artist Award for Literature. She lives in Ottawa.

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