When Phyllis Webb published Wilson’s Bowl in 1980, Northrop Frye hailed it as “a landmark in Canadian literature”: landmark, an event that marks a turning point in something (in this case, Canadian literature); and an instantly recognized feature of a landscape (in this case, the landscape of Canadian poetry). Wilson’s Bowl was Webb’s fifth volume of poetry. Three more followed and then she fell silent, turning from literature to abstract painting.

Peacock Blue compiles in a single volume all of Webb’s published, unpublished, and uncollected works from a writing career that spanned fifty years. It offers readers the opportunity to relish the arc of Webb’s entire poetic oeuvre, from the modernist lyricism of her early works, to the groundbreaking volume, Naked Poems (1965), in which Webb created for herself a new minimalist language; from Wilson’s Bowl to what Douglas Barbour calls “Webb’s loving and subversive engagement with the ghazal” in Water and Light (1984); and finally to the postmodernist prose poems of Hanging Fire (1990).

The concluding section of Peacock Blue contains almost fifty poems, some of which have never been published before. It also includes brilliant but forgotten poems and poetic surprises. Brenda Carr has suggested that one of Webb’s later essays, “Message Machine” (1990), “initiates a re-reading of her poetics and practice … Against her anxiety that she is a passive ‘message machine’ for masculinist culture.” However, as Carr points out, “Webb posits another possibility – ‘cross-dressing.’ She theorizes her mimicry of the male persona as analogous to a ‘masquerade’ or ‘street theatre’ and in so doing reconstructs even her earlier poems as a performative space in which agency is possible.” The truth of Carr’s insight becomes increasingly apparent to anyone who undertakes to read through Webb’s entire poetic output, gathered together, at last, in Peacock Blue.

Phyllis Webb was born on April 8, 1927 in Victoria, BC. She was educated at the University of British Columbia and McGill University. The first major publication of her poetry was in Trio, which also included poetry by Eli Mandel and Gael Turnbull. For many years she worked as a writer and broadcaster for the CBC, where she created the radio program Ideas in 1965 and was its executive producer from 1967 to 1969. Webb served as writer-in-residence at the University of Alberta from 1980 to 1981 and taught at the University of British Columbia, the University of Victoria, and the Banff Centre. She died on Salt Spring Island in November, 2021.Her 1980 work Wilson’s Bowl was hailed by Northrop Frye as “a landmark in Canadian poetry.” When the book was passed over for a Governor General’s Award nomination, a group of fellow poets—led by Margaret Atwood, Michael Ondaatje, bpNichol, and P.K. Page—collected $2,300 and sent it to Webb, stating that “this gesture is a response to your whole body of work as well as to your presence as a touchstone of true good writing in Canada, which we all know is beyond awards and prizes” (John F. Hulcoop).As Stephen Scobie once wrote, the work of Phyllis Webb “has always been distinguished by the profundity of her insights, the depth of her emotional feeling, the delicacy and accuracy of her rhythms, the beauty and mysterious resonance of her images – and by her luminous intelligence.”Phyllis Webb received the BC Gas Lifetime Achievement Award in 1999, the Order of Canada in 1992, and the 1982 Governor General’s Award for Selected Poems: The Vision Tree.

Phyllis Webb's profile page

John F. Hulcoop received a B.A. and a PhD from University College London. He emigrated to Canada in 1956 and taught in the English department at the University of British Columbia. Initially a nineteenth-century scholar, Hulcoop has published works on Robert Browning, Jane Austen, George Eliot, and Virginia Woolf. A long-time critic of Phyllis Webb’s work, he edited and wrote the introduction to her Selected Poems 1954–65 (Talonbooks, 1971); he also wrote Phyllis Webb and Her Works (ECW Press, 1990).

John F. Hulcoop's profile page

“Reading her work this way is like watching the seasons change, for people who have been writing as many years as she has don’t ordinarily stand still for long. … she has remained active politically, gradually settling on a mixture of anarchism, feminism and environmentalism that is to be found only on the West Coast. … Peacock Blue is a most important book. It’s both a testament and a trophy.”
—Vancouver Sun

“a vibrant intelligence coupled with a wry wit … Webb’s dedication to social justice is evident in her poetry. … It’s evident from this book that Webb knew many of the major Canadian writers. She dedicates poems to many writers, she refers to writers, and she celebrates the words of others. Trying to capture [this volume] in a review is like trying to catch wind. There’s too much and it’s too powerful. Ultimately all I can say is [‘Read this poet’].”
—Maple Tree Literary Supplement

“Surely, Peacock Blue is the literary event of the year. Reading this life-in-words, it is obvious that Al Purdy is not now our reigning voice – Phyllis Webb is. She has engendered her full scope – by silences – by retreats – unto a woman’s lyric authority.”
—Malahat Review

“Webb’s poetic oeuvre displays a range and formal daring … unmatched in Canadian letters. … she has been and remains one of our finest, most linguistically sensitive poets. … Peacock Blue should long have a place in any and all CanLit libraries”
—Canadian Literature

“[Phyllis Webb] has always been distinguished by the profundity of her insights, the depth of her emotional feeling, the delicacy and accuracy of her rhythms, the beauty and mysterious resonance of her images—and by her luminous intelligence.”
—Stephen Scobie

“a philosophical poet par excellence.”
—Stephen Collis

About Naked Poems (1965):
“Naked Poems … is one of the most influential works of its time, for it suggested a new vision of the book-length poem which profoundly affected a number of poets in the following literary generations. Full of lyric intensity yet transcending mere lyric posturing, Naked Poems is Canada’s first masterpiece of process poetics, a series of precisely crafted minimal texts which remain open to the possibilities of what the third section calls the ‘Non Linear.’ Robert Kroetsch has made perhaps the finest and most concise statement about this innovative and concise work: ‘On nakedness and lyric and yet on a way out, perhaps a way out of the ending of the lyric too, with its ferocious principles of closure, a being compelled out of lyric by lyric.’”
—Canadian Encyclopedia