Lisa Robertson
Biography
Lisa Robertson's work developed among a community of poets and artists in Vancouver, Canada, where she began to publish in the early 1990s. As a long time member of the experimental collective Kootenay School of Writing, an independent bookseller, the editor of little magazines, and a frequent collaborator with visual artists, from the beginning Robertson's work in poetry has been informed by her engagement in art communities as an organizer, essayist, and teacher.
Robertson's FCA award supported the completion of her first novel The Baudelaire Fractal (Coach House Books, 2019). Her other published works include 3 Summers (Coach House Books, 2016), her eighth book of poetry, which received extended reviews in Artforum and Los Angeles Review of Books; Occasional Works and Seven Walks for the Office for Soft Architecture (Clear Cut Press, 2003), a selection of texts informed by collaborations with arts communities; The Weather (New Star Books, 2001), an experimental study of the language of meteorology in daily life, history, and politics, which has been published in translation in French and Swedish; Debbie: An Epic (New Star Books, 1997), which was shortlisted for the 1998 Governor General's Award for Poetry in Canada; and XEclogue (New Star Books, 1993), her first book of poetry that launched her study of the historical dynamics of gender in classical poetry forms.
Robertson is the recipient of an Honorary Doctorate in Letters from Emily Carr University of Art and Design (2017), and a series of arts awards from the Canada Council of the Arts beginning in 1995. She was the Pearl Andelson Sherry Poet-In-Residence at the University of Chicago (2015); the Bain-Swiggett Visiting Professor of Poetry at Princeton University (2014); the Allen Ginsberg Visiting Fellow at Naropa University (2014); and the Judith E. Wilson Visiting Fellow in Poetry at the University of Cambridge (1998).
Since 2004, Robertson has lived in rural France. She frequently travels to art colleges and universities across Europe, the United States, and Canada as a freelance teacher and lecturer, translates poetry and linguistics from French to English, and writes essays for gallery and museum publications while continuing her independent work in poetry.
Poetics Statement
Sample of Poet's Work
From Starlings
Whilst the Communistic Fox
Merrily Becries
Its Fuck
Translucently we Brood
Adoring our Own
Erotic Gravitas
This is a General Geophysiology of Wildrose, of Starling, of Deer, of Fox, of Laurel, of River
Everything shitty and riming and poor and resourceful
This is a work of uncountrying
An ointment
Yesterday I cried. It was artless and good.
Spring has its own agony, truly
It involves convolution
For the nudity of one kiss
Joy suffers measure
How tiring it is to disagree with everything!
Then we go visiting, throw our tender runners
Over forest-rim
Starlings. We are breaking into a vast derelict space.
We are the Starling scene in Sterne’s Sentimental Journey.
A caged Starling is repeating in the voice of a Child “I cannot get out.”
Call rime a banner of rosewater. Know
any girl will flood the sign with her
sex. Say the refrain, like a flower, fits
in your head. Now you are
flower-sized. Your vocal parts especially
are flower-sized
Some were at the edge of language so
couldn’t live. Some were at the core of
language so couldn’t live either. What if
we forget about language, move into
the natural history of the idea
of guts? Guts or rosewater, very
similar. Rosewater or rime. Uncountrying
by means of rosewater. To make a natural history
of rosewater, penetrate
borders
Last night I thought that I would die
my heart ached so darkly
beneath the leftside ribs
but now I think I will not die
relaxed in my stained coat in the ankledeep meadow
I would like to trill a little
and I would trill until sweetness comes
rime furor with form
also shyness with form
(Laura there is
no contradiction
in rime)