Daphne Marlatt

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Daphne Marlatt , CM (born July 11, 1942 in Melbourne ) is a Canadian writer and poet from Australia who was instrumental in designing the lyrical avant-garde magazine TISH in her youth and in 2009 with her volume of poetry The Given to the BC Book Prizes belonging Dorothy Livesay Poetry Prize won and the leading feminist is one of authors of their homeland.

Life

The writer was born as Daphne Buckle in Australia. At the age of three she moved to Penang , Malaysia with her parents, Arthur and Edrys Lupprian Buckle, who in turn had English nationality . When she was nine years old, the family moved to British Columbia , Canada . There she attended the University of British Columbia and in the early 1960s she belonged to the circle of young literature students around Fred Wah who helped design the lyrical newsletter magazine TISH . During this time she also developed her own lyrical style and her steadfast feminist perspective. In 1964 she received her Bachelor of Arts from the University of British Columbia and four years later she received her Masters in Comparative Literature from Indiana University .

Shortly before, she had married her husband, Gordon Alan Marlatt, a clinical psychologist. After an extensive trip across the American continent, they settled in Bloomington, Indiana , where they also wrote their first published long work, Frames of a Story (1968).

In 1969 she published leaf leaf / s , a collection of short poems. Two years later she published Rings , a compilation of poems about pregnancy, childbirth and early parenting. She began teaching creative writing and literature at Capilano College and also edited The Capilano Review . In 1972 Vancouver Poems came out. She published one of her best-known works, Steveston , illustrated with photographs by Robert Minden , in 1974. Steveston is about a small fishing village whose relationships were influenced by the fact that it was used as an internment camp for Canadians of Japanese descent during World War II .

In 1975 the writer published Our Lives , a lyric work about the organic implosions of a relationship. Daphne Marlatt divorced her second husband, poet and painter Roy Kiyooka, in the late 1970s and moved back to Vancouver with her son Christopher . In 1977 she published The Story, She Said and the book Zocalo , a collection of long poems about traveling through the Yucatán . Three years later she published What Matters: Writing 1968-1970 , which was based in the summary of early writings on Rings and Vancouver Poems . This year she also published Net Work: Selected Writing , which her former classmate Fred Wah , now a lecturer at the University of Calgary , attested to as having “new self-confidence and authority”.

As early as 1977 Daphne Marlatt had emerged as a co-founder of periodies: a magazine of prose (1977–81) and in 1981 she published here & there . Since then, the writer has become more involved in feminist issues, has participated in various feminist congresses and has also organized some of these events. In 1985 she founded Tessera , a feminist magazine, and formulated her coming-out in several ways : “a time of transition for me as i tried to integrate my feminist reading with a largely male-mentored postmodernist poetic, at the same time coming out as a lesbian in my life as well as in my writing. "

1983 followed the publication of How Hug a Stone , which referred to a trip to England with her son in 1981. In 1984 she released Touch to My Tongue . Both works expressed their intense approach to the continued change in their surroundings. She brought out two books in 1985/86 together with the feminist writer Nicole Brossard from Québec : Mauve and character / jeu de letters . Double negative (1988), however, was a joint project with Betsy Warland .

In the same year she also presented her most sophisticated work to date, the novel Ana Historic , which attempted to present the experiences of women both in a historical perspective and in direct comparison. In a 2003 interview with Sue Kossew, a professor at the University of New South Wales , she described her novel as follows: “I like rubbing the edges of document and memory / fiction against one another. I like the friction that is produced between the strong reporting of document, the pseudo-factual language of journalism, and the more emotional, even poetic, language of memory. That's why I used such a hodgepodge of sources in Ana Historic: a little nineteenth-century and very local journalism that sounds like a gossip column, a 1906 school textbook, various historical accounts, some contemporary feminist theory, and a school teacher's diary from 1873 that was completely fictitious. "

Caroline Rosenthal , author of Narrative Deconstructions of Gender in Works by Audrey Thomas , Daphne Marlatt, and Louise Erdich , put it this way: “Marlatt, in Ana Historic, challenges the regulatory fiction of heterosexuality. She offers her protagonist a way out into a new order that breaks with the law of the father, creating a "monstrous" text that explores the possibilities of a lesbian identity. ”In 1991 Salvage appeared with biographical elements from Marlatt's feminist perspective Ghost Works , a mixture of prose, poetry, diary entries and travelogues published. The following year saw Two Women in Birth , which she brought out again with her "better half" Betsy Warland and which should document the joint writing of the two feminists over the past ten years.

Her second novel, Taken , was presented in 1996. This literary work was intended as a tribute to all women whose lives were "taken" ( Taken ) by the war . This Tremor Love (2001) was a collection of love poems a period of 25 years, with her on the short list of the BC Book Prizes belonging Dorothy Livesay Poetry Prize was. The poetry collection Seven Glass Bowls was published in 2003 and The Given in 2008, for which she was finally able to win the Dorothy Livesay Poetry Prize. A special place in her work is the drama The Gull , which was written in the old, ritualized tradition of Japanese Nō theater and was awarded the Uchimura Naoya Prize in 2008 .

The television production Heart of a Poet honored her in 2006 with an episode in which the Canadian film director Maureen Judge was responsible. In 2008 Daphne Marlatt read passages from her poems for the audio CD production Like Light Off Water (Otter Bay 2008).

During her career, Marlatt has taught - including as Writer in Residence - at various colleges and universities: University of Alberta , University of British Columbia, Capilano College, University of Calgary , University of Manitoba , McMaster University , Mount Royal College , University of Saskatchewan , Simon Fraser University , University of Victoria and the University of Western Ontario .

In addition to the aforementioned awards, the author received the MacMillan and Brissenden award for creative writing ; the Canada Council award ; the Vancouver Mayor's Arts Award for Literary Arts and was inducted into the Order of Canada for her services to Canadian literature . She also founded the West Coast Women and Words Society.

The writer deals with Tibetan Buddhism and lives in Vancouver.

plant

  • other works
  • Frames of a Story. Ryerson Press, Toronto 1968
  • leaf leaf / s. Black Sparrow Press, Los Angeles 1969
  • Rings. Vancouver Community Press, Vancouver 1971
  • Vancouver Poems. Coach House Press, Toronto 1972
  • Steveston. Talonbooks, Vancouver 1974
  • Our Lives. Truck Press, Carrboro, New York 1975
  • Zocalo. Coach House Press, Toronto 1977
  • The story, She Said. Coach House Press, Toronto 1977
  • Ana Historic. Coach House Press, Toronto 1977.
  • Opening Doors: Vancouver's East End. 1979 ( Oral History Project, edited with Carole Itter ).
  • Net Work: Selected Writing. (edited by Fred Wah ) Talonbooks, Vancouver 1980
  • What Matters. (writings 1968–70) Coach House Press, Toronto 1980
  • here & there. Island Writing Series, Lantzville, British Columbia 1981
  • How Hug a Stone. Turnstone Press, Winnipeg 1983
  • Touch to My Tongue. Longspoon Press, Edmonton 1984.
  • Mauve. Nouvelle barre du jour, Montreal 1985 (with Nicole Brossard ).
  • Feminist Literature in the Feminine. 1985 (edited with Ann Dybikowski , Victoria Freeman , Barbara Pulling and Betsy Warland ).
  • Double negatives. Gynergy Books, Charlottetown 1988 (with Betsy Warland).
  • Telling It: Women and Language Across Cultures. 1990 (with Betsy Warland, Lee Maracle and Sky Lee )
  • Salvage. Red Deer College Press, Red Deer, Alberta 1991
  • Ghost works. NeWest, Edmonton 1993
  • Two Women in a Birth. Guernica, Toronto 1994 (with Betsy Warland)
  • Taken. House of Anansi Press, Ontario 1996
  • Readings from the Labyrinth. NeWest Press, Edmonton 1998
  • Winter / Rice / Tea Strain. 2001
  • This Tremor Love Is. Talonbooks, Vancouver 2001
  • Seven Glass Bowls. Nomados, Vancouver 2003
  • The Given. 2008.
  • The Gull. (Drama) 2008

Awards and nominations

literature

  • George Bowering : Given This Body: An Interview with Daphne Marlatt. In: Open Letter 4: 3 (spring 1978).
  • Douglas Barbour : Daphne Marlatt and Her Works. ECW Press, Toronto 1992.
  • Pauline Butling and Susan Rudy : On Salvaging: A conversation with Daphne Marlatt. Poets Talk: Conversations with Robert Kroetsch , Daphne Marlatt, Erin Mouré , Dionne Brand , Marie Annharte Baker , Jeff Derksen , and Fred Wah . 2005
  • Frank Davey : Canadian Literary Power. 1994
  • Barbara Godard: Body I: Daphne Marlatt's Feminist Poetics. In: American Review of Canadian Studies 15.4 (Winter 1985) p. 481
  • Lynette Hunter: Daphne Marlatt's poetics: what is an honest man? And can there be an honest woman? In: Open Letter 12.8, 2006, p. 143
  • Susan Lynne Knutson: Narrative in the Feminine: Daphne Marlatt and Nicole Brossard . Wilfrid Laurier University Press, Waterloo 2000
  • Glen Albert Lowry: After the End / s: CanLit and the Unraveling of Nation, 'Race,' and Space in the Writing of Michael Ondaatje , Daphne Marlatt, and Roy Kiyooka . Dissertation. Simon Fraser University 2001
  • Caroline Rosenthal : Narrative Deconstructions of Gender in Works by Audrey Thomas , Daphne Marlatt and Louise Erdrich . Camden House, Rochester 2003
  • Marie Vautier: Canadian Fiction Meets History and Historiography: Jacques Poulin, Daphne Marlatt, and Wayson Choy . In: Colby Quarterly, 35.1, 1999
  • Kimberly J. Verwaayen: Through the Looking-glass of Poststructuralist Autobiography, and, Four (Eight? Fifteen?) Canadian Women's Texts. University of Western Ontario , 2004

Web links

Individual evidence

  1. ↑ Profile Daphne Marlatts on the homepage of the Writers Union of Canada - www.writersunion.ca.  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. Retrieved April 7, 2012.@1@ 2Template: Dead Link / www.writersunion.ca  
  2. ^ Robert Lecker: Perceiving It as It Stands . In: Canadian Literature: "Marlatt has every right to join Kay and Gerda in flight, for their predicament, and the development of their story, serve as a metaphor for the problems of growth encountered by a poet struggling to break away from the frames imposed by established word patterns and the falsities implied by a world view which categorizes experience, storytelling it in standardized form, as if the motion of living was always the same, always sane. "
  3. ↑ Fred Wah : "the flow of town and history, of the Japanese people and the cannery, especially of the river and language, are more securely rooted in place and concentrated in the writing consciousness than in any other of her books." In: Canadian Literature, 1981, p. 36.
  4. ↑ See biography of Daphne Marlatt on Bookrags
  5. ↑ Originally: Sue Kossew: History and place: an interview with Daphne Marlatt. Canadian Literature , 178, Fall 2003, pp. 49-56
  6. ↑ Quoted from Marlatt, on the person, entry in "English-Canadian writers", Athabasca University , by Marlene Wurfel. Several further links.
  7. ^ Caroline Rosenthal : Narrative Deconstructions of Gender in Works by Audrey Thomas, Daphne Marlatt, and Louise Erdich . Camden House, Rochester, New York 2003.
  8. ↑ Judith Fitzgerald: Daphne Marlatt's Modernist Masterpiece: "Taken" ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: The Globe and Mail . January 4, 1997. Retrieved April 7, 2012. @1@ 2Template: Webachiv / IABot / www.judithfitzgerald.ca
  9. ↑ http://talonbooks.com/books/the-gull
  10. ↑ Portrait of the author on www.nwpassages . Retrieved April 7, 2012.
  11. ↑ http://www.banffcentre.ca/faculty/faculty-member/278/daphne-marlatt.mvc
  12. ↑ Glen Lowry: Cultural citizenship and writing post-colonial Vancouver: Daphne Marlatt's Ana Historic and Wayde Compton's Bluesprint. In: Mosaic 38.3 (September 2005): p. 21.
  13. ↑ Heather Milne: The Elliptical Subject: Citation and Reciprocity in Critical Reading of Ana Historic. In: Canadian Poetry. 57 (2005): pp. 86-102.
  14. ↑ Kathleen M. Scheel: Freud and Frankenstein: the monstered language of Ana Historic. In: Essays on Canadian Writing 58 (Spring 1996): 93.
  15. ↑ Heather Zwicker: Daphne Marlatt's Ana Historic: Queering the Postcolonial Nation. In: Ariel 30.2 (April 1999): pp. 161-175.
  16. ^ Celine Chan: Lesbian Self-Naming in Daphne Marlatt's Ana Historic. ( Memento of the original from February 24, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.uwo.ca
  17. ↑ Janice Williamson: 'It gives me a great deal of pleasure to say yes': Reading / Writing Lesbian in Daphne Marlatt's Touch to My Tongue. In: Beyond Tish . Ed. Douglas Barbour. Newest, Edmonton 1991. pp. 123-129
  18. ^ Susan Holbrook: Mauve Arrows and the Erotics of Translation. In: Essays on Canadian Writing 61 (Spring 1997), p. 232.
  19. ↑ Joann Saul: Narrative in the Feminine: Daphne Marlatt and Nicole Brossard. In: University of Toronto Quarterly 71.1 (Winter 2001): p. 372.
  20. ↑ Deborah M. Mix: An erotics of collaboration: Daphne Marlatt and Betsy Warland's 'Double Negative'. In: Contemporary Literature 41.2 (Summer 2000): p. 291
  21. ↑ Review in: The Malahat Review . No. 167th summer 2009
  22. ↑ http://www.brocku.ca/canadianwomenpoets/Marlatt.htm
  23. ↑ CanLit = Canadian Literature - Littérature Canadienne ISSN  0008-4360 website
personal data
SURNAME Marlatt, Daphne
ALTERNATIVE NAMES Buckle, Daphne
BRIEF DESCRIPTION Canadian writer, poet and former professor of Australian descent
DATE OF BIRTH July 11, 1942
PLACE OF BIRTH Melbourne , Australia