The book is a “call-and-response” collaboration between the two writers, who share a common passion for bees and language. It features a collection of essays by Winston on his 40-year career as a scientist studying bees and is interspersed with Saklikar’s eloquent poems.”
Mark Winston on the book:
The book is intended for a general audience, from those interested in bees, nature and science, to those who appreciate poetry. ‘The actual results of research, interesting as they are, are only the beginning of contemplating the mysteries that deep study of another organism can reveal,’ says Winston. ‘Listening to the bees connects us to the ineffable mysteries we will never resolve or fully understand, into the realm of wonder.’
Welcome to the final part of thecanadaproject interviews poet Jordan Scott. Scott is the 2015/2016 SFU Writer in Residence. His books include Silt (New Star 2005), blert (Coach House 2008), DECOMP (Coach House 2013) and Clearance Process (SMALL CAPS 2016). His forthcoming long poem, Night & Ox is to be published by Coach House Books in the fall of 2016. Jordan lives in Port Coquitlam, BC.
RSS:Can you share a bit about your approaching to teaching as part of your residency…what I’m getting at here is, I often wonder, what it’s like for a “WIR” (writer in residence), when approached for commentary/feedback on writing, where you don’t necessarily have time to form teacher-student bonds, as you might in a classroom, over a longer period of time. As the new Surrey Poet Laureate, I’m really interested in learning about how to best serve writers in these sorts of roles.
JS: I’m coming to the end of my tenure as SFU Writer in Residence…it was an incredible experience. I agree that it’s difficult to create lasting bonds while Writer in Residence, as the consultation periods are so brief. I’m not really interested in telling people how to write or how to make a work better. I think I approached these meetings as simply a time to talk about poetry. I wanted to make sure that the person sitting across from me knew that I devoted time to only reading their work and that was listening. This for me, when friends read my work, is the greatest of gifts.
RSS: You’ve been both collaborator/agent of creation and the subject of film and audio studies. What’s that been like, that traversing the line between subject/object? What’s it like to both embody what is integral to us as poets, our “being/ness” (a stutter, the colour of one’s skin, our gender) and to mine if for material?
JS: I’m very conflicted about many of these experiences around the stutter and the poetics of the stutter. You’re right to say it’s a kind of ‘mining for material’ and this can be a very uncomfortable and disingenuous process. I’m not sure how great I’ve been at managing the complex web of art, professionalism and sincerity. I think most of the time my engagement with the stutter is a failure in the sense that it becomes part of an art project / object. I’m the object most of the time but – by extension – so are those who stutter. I have to say that most of the time there’s no art or poetry to stuttering at all. It mostly fucking sucks and I don’t want my kids to talk the way I do. I say this because I don’t want to get caught in some kind of redemptive trap of ‘overcoming obstacles’ because there’s nothing to overcome.
RSS:What’s next for Jordan Scott and have you already begun new writing?
June 2-7, ArtSongLab 2013 with composers Alyssa Aska and Kaley Eaton – work continues in collaborating to find musical expression inside elegaic sequence. Come hear the premier of new music set to my poems on June 7.