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Poetry Canadian

Unquiet Bones

by (author) Peter Midgley

Publisher
Wolsak and Wynn Publishers Ltd.
Initial publish date
Oct 2015
Category
Canadian, African
  • Paperback / softback

    ISBN
    9781928088073
    Publish Date
    Oct 2015
    List Price
    $18.00

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Description

Shortlisted for the 2016 Robert Kroetsch City of Edmonton Book Prize

Peter Midgley does not shy away from politics, whether documenting efforts to uproot colonialism or the number of murdered Aboriginal women in Canada. In these dramatic and uncompromising poems, Midgley roves between Canada and Africa, stopping briefly to consider struggles for democracy in places as diverse as Hong Kong and Ancient Rome. With lines that look for justice and record our search for human dignity, Midgley shows us "bodies silent as crocodiles on the kavango" and how "freedom is a lovely word, thin as a thousand paper lights." But still the poet finds time to dream beside a campfire, to caress a beloved or contemplate the "lilied throat of evening."

Working in a variety of languages and referencing traditional African poem forms, Midgley expands our ideas of poetry and language in this book. These are physical poems, poems where you can hear the shells exploding and feel the sea ice closing in on you, poems that linger long in your memory.

About the author

Peter Midgley is an independent scholar, writer, and editor. He is the author twelve books for children and adults, including three volumes of poetry. His latest book of poetry, let us not think of them as barbarians, was shortlisted for the Writers’ Guild of Alberta’s Stephan G. Stephansson Award for Poetry.

 

Peter Midgley's profile page

Editorial Reviews

"Unquiet Bones is delirious with language: I see several African languages, Afrikaans, Latin, French. It honours all of them and reminds the reader of the physicality, substantiality of words. They are just beautiful to hold in the mouth. Yes they perform other functions, but just consider their heft and sinuousness." — Tim Lilburn

"In Midgley's poems, the 'I' seeks not to dominate a vista but to find openings into human dwelling in all its variousness, its presence and its fear, its absence and its love. The result is a wandering that is truly Spinozan — his lines, languages, encounters, multiply in avid interstices, in rhythms that enact and multiply meanings and resonances. The poems are living bodies both affected by and affecting others in the world, and they both perturb and gladden our reading." — Erín Moure

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