Poetry is where my heart goes to live; to mediate on its joys, and sorrow, to wallow in the emotion of the moment and stretch it out in long delicious sentiments to fill me, and hopefully others up.

I delve into mythology, historical texts and images to search out the thing, the predicament or worry or little obsession on which to write and often find more than I can keep up with. I hope my poems are welcoming…

I write about Pakistani folklore, thinking about the richness of my own history and the ways it has been erased through colonization. I write about love. I love writing about love, and I love leaning into softness and vulnerability.

I dream new selves and alternative futures into becoming through poetry. I sing to the co-flourishing of the living. This song, in order to find its music, asks me to courageously accept past trauma before transforming the compost of the dead into a healing hymn.

The act of writing poetry is an emancipatory act that allows me to write my truths and observations about the world we live in. I also am a researcher at heart, which allows me to explore the art of poetry from a place of documentation, and engaging both the archives and engaging popular media references.

My poetry since the 1990s has primarily addressed black and mixed-race identity and, in particular, black history in British Columbia, variously at the formal meeting points …

I was born “into the world” speaking the Cree-Michif of my home community of Île-à-la-Crosse. I heard sounds and mimicking them I learned words had power to connect me with a world outside of myself, human and otherwise

If the heart could speak, it would speak poetry. If the soul could speak, it would speak poetry.

Poets have the chance to build a conversation in writing, a means of exploring what writing can be through ongoing discourse and the creation of opportunity.

As a Kwantlen man, father, fisherman, poet and playwright I believe the gift of words was given to me so I can retell all of our stories either upon stage or in in a book of poetry or in our longhouses on a cold winter’s night.

I feel like the poems—even when they remember, forget, and imagine elsewhere or elsetime—encounter place as layers of memory: arrivals, departures, resistances, transformations.

Molly blends epistolary, confessional, lyric, and prose forms, especially favouring the poetic statement and contemporary plainspeak. Her use of humour and sharp thematic and formal turns act as vehicles to empathy and comprehension.

Entering Sappho is an engage-ment with desperate, indulgent, and condescending nostalgia. It documents a wish for this special kind of small-town life.

Sometimes when I wash the dishes, I am seized by the notion that I can attain some kind of transcendent absolute, will have brushed my scrubby against a joyful, radiant beauty if I can just clean every speck, every burnt skirmish from the surface of the pots and pans.

Poetry for me is the literary form closest to living, to breathing. Poems may arise directly from dreams, revery, witnessing: all we need do is articulate the moment, and others may enter in, share the experience.

I came to poetry as an Africadian (African-Nova Scotian) kid trying to write songs. In fact, it was July 1, 1975, when I decided to write four songs per day…