From the private library of noted poet Richard Osler, warmly inscribed by author to the title page: 'For Richard, / So great to see you again! / With warmth, / (signed) Sandra'. A Very Good copy with a few scuffs to the front cover and slight shelfwear, else in Near Fine condition. Internally clean and free of markings with an uncreased spine. // ' 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' -- publisher.

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Bibliographic Details

Title

Post-Apothecary

Publisher

Pedlar Press

Publication Date

2011

Language

English

ISBN 10

1897141459

ISBN 13

9781897141458

Binding

Paperback

Condition

Very Good

Signed

Signed by Author(s)

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Poetry

About this title

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: "

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

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