“THE PUBLIC INTELLECTUAL” IN TRACING THE LINES

In Tracing the Lines: Reflections on Contemporary Poetics and Cultural Politics in Honour of Roy Miki. Eds., Maia Joseph et al. Vancouver: Talonbooks, 2012.

"Passionate critic, principled citizen, attentive reader and editor, and energizing teacher – Roy Miki is all these and more, a poet whose writing articulates a moving body of work. The two main areas of his passionate research and writing – social critique and poetics – inform each other in these essays, poems, and artwork compiled to mark a milestone in the life of an important public intellectual."

I got to know Roy Miki in the Writers’ Union of Canada during the late 1980s when activists in the Union began to work issues of race. This eventually led to two national meetings of writer-of-colour convened by the Union. Roy led the committee that organized the second and larger one, Writing Thru Race in 1994. In June 2009 a conference to celebrate Roy’s extraordinary life as a writer, thinker, teacher and activist was held at the Firehall Theater in Vancouver. Tracing the Lines is a collection of the presentations made by a host of artists, writers and academics who participated. What I most remember of the occasion was a conversation with Phinder Dulai when I lamented the fact that the work done in the Union had not led to long term change. In response he noted that while a tiny minority of writers at the Writing Thru Race had published, in the intervening 20 years most of them had been. So progress has definitely been made.

Download a PDF version (468Kb) of  the essay: “The Public Intellectual.”

“N’TOW’WIK’HEGAT (SHE WHO KNOWS HOW TO MAKE IMAGES)”

In Net wikuhpon ehit — Once there lived a woman, The Painting, Poetry and Politics of Shirley Bear, Curator, Terry Graff. Fredericton: Beaverbrook Art Gallery, 2009.

"To know Shirley Bear is to experience her language, the Wabanaki language spoken by the First Peoples living in the valley of Wulustook (the Saint John River) and the community known as Negootkook (Tobique First Nation) where Bear was born and raised."

In 2009 the Beaverbrook Gallery in Fredericton honoured visual artist and writer Shirley Bear with a retrospective exhibition called Net wikuhpon ehit — Once there lived a woman, The Painting, Poetry and Politics of Shirley Bear. It was curated by Terry Graff who asked me to write this essay. I met Shirley when the PEN International Congress was held at Harbourfront in Toronto in 1989 and I was chair of the Writers in Prison of PEN Canada.  As we had access to the York Quay Gallery at Harbourfont along with other rooms, the WIP Committee invited Shirley to open Changers: A Spiritual Renaissance there. Changers was a touring exhibition of contemporary Indigenous women’s art organized by the National Indian Arts and Crafts Corporation and curated by Shurley. The artists were Rebecca Baird, Shirley Bear, Rebecca Belmore, Ruth Cuthand, Freda Diesing, Faye HeavyShield, Glenna Matoush, Shelley Niro, Alanis Obomsawin, Jane Ash Poitras, Joane Cardinal-Schubert.

Download a PDF version (897Kb) of “N’tow’wik’hegat (She who knows how to make images).”

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