Karen Solie

Liberties, a Journal of Culture and Politics, is essential reading for those engaged in the cultural and political issues of our time. In this issue of Liberties: Michael Ignatieff - The Mind’s Emancipation; Mary Gaitskill - The Trials of the Young; Sergei Lebedev - Putin’s Philosopher: A Memoir; Michael Walzer - Moral Concern; Justin E. H. Smith – The Happiness Industrial Complex; Andrew Scull – The Fashions in Trauma; David A. Bell – The Triumph of Anti-Politics in America; Michael Kimmage – A Defense of Delight in a Dark Time; Robert Alter – Proust and the Mystification of the Jews; Steven B. Smith – What is a Statesman?; Benjamin Moser – Rembrandt’s shadows; Helen Vendler – The Poetry of Charm; Celeste Marcus – Priorism, or the Joshua Katz Affair; Leon Wieseltier – Problems and Struggles; and, new poems by Karen Solie, Adam Zagajewski, and John Hodgen. Published quarterly, Liberties, is a collection of the most significant writers today as well as launching the voices of tomorrow. Liberties features serious, independent, stylish, and controversial essays by significant writers and introduces the next generation of writers and poets to inspire and impact the intellectual and creative lifeblood of today’s culture and politics. Nobel Prize winners, leading op-ed writers, well-known non-fiction writers, rising talents, and poets from around the world are part of the Liberties series. There’s a reason why engaged citizens, cultural warriors, political leaders, opinion makers, and activists from across the cultural and political spectrum read and cherish Liberties.

Winner of the Forward Prize Winner of the Governor General's Literary Award Shortlisted for the T. S. Eliot Prize Shortlisted for the PEN Heaney Prize A new collection of urgent, essential poems that "take your breath away" (The Daily Telegraph), from the celebrated Canadian poet Karen Solie. The poems in Wellwater, Karen Solie's sixth collection, explore the cultural, economic, and personal ideas of "value," addressing housing, economic and environmental crises, and aging and its incumbent losses. Places we might think of as home have become unaffordable or inaccessible. A poor excuse for an apartment, a basement suite is "cold on five sides, like childhood," and "tries to forget we are here." Power lines, radios, and fluorescent lights all emit a "low hum of menace," and "vulgar muffins, overstuffed as geese with funnels down their throats" come to represent a culture in decline. Solie, who grew up in Saskatchewan on a small family farm, sees the economic and environmental crises as intertwined. Climate change has made small farming untenable, and onward creeps the corporate control of food production. "There is no starting over," Solie writes. And yet, life, echoing with the presence of those lost, ambles along day by day.

'Karen Solie should be read wherever English is spoken' – Michael Hofmann, LRB'Half-expertise and half-magic . . . Wellwater is a terrifying book – and a masterly one. Solie is as good as poetry gets' – Declan Ryan, TelegraphWellwater demonstrates a poet writing at the height of her powers. In poems that are supple, philosophical, bracingly honest and ribbed with erudition, Wellwater conducts a self-interrogative conversation with a culture in crisis and a natural world on the brink. Thresholds abound, ‘doors between dimensions’ where past selves or lost loved ones speak to us again: ‘death is not Saskatchewan’ shrugs one encountered soul, ‘we don’t all know each other in this place’. Solie excels as a laureate of the transitory, of ‘baffling flats . . . tiny museums of illegalities’, motel rooms exuding a ‘low hum of menace’. Her roving, syntactically elegant poems will often resolve in disarming directness, a precise admission of the emotional stakes. Karen Solie is increasingly recognised as one of the essential voices in world poetry. Wellwater will delight those already in the know, while new readers of her work will be astonished.'Powerful, philosophical, intelligent . . . [Solie is] adept at pulling great wisdom from the ordinary' – Griffin Prize judges Anne Carson, Kathleen Jamie and Carl Phillips'Sometimes didactic and anecdotal, always matter-of-fact, Solie is a philosophical conversationalist . . . This is a well-timed book addressing our moment of climatic turbulence' – Kit Fan, Obsever'A wry and buoyant playfulness walks a tightrope with frank appraisal . . . The result is a work of political profundity and linguistic dexterity that constantly surprises.' – Susannah Dickey, PEN Heaney Prize-winning author of ISDAL and Tennis Lessons

The award-winning poet Karen Solie's striking fifth collection of poetry blends the story of a seventh-century monk with contemporary themes of economic class, environmentalism, and solitude in an ever-connected world if one asks for a sign must one accept what's given? Ethernan, an Irish missionary in the seventh century, retreated to the Caiplie Caves on the eastern coast of Scotland to consider life as a hermit. In The Caiplie Caves, Karen Solie's fifth collection of poems, short-listed for the T. S. Eliot Prize, Solie inhabits a figure inspired by Ethernan, a man torn between the communal and the contemplative. His story is remarkable for the mysticism embedded in the ordinary; as Solie writes in her preface, Ethernan is not known for supernatural feats, but "is said to have survived for a very long time on bread and water." Interwoven with the voice of this figure are poems whose subjects orbit the physical location of the caves and join the sharply contemporary to the mythic past: the fall of a coal-fired power station; a "druid shouting astrology" outside a liquor store, putting "the Ambien in ambience"; seabirds "frontloaded with military tech"; the dichotomous nature of the stinging nettle. These are meditations on the crisis of time and change, on class, power, and belief. Above all, these are ambitious and exhilarating poems from one of today's most gifted poetic voices.

'Wry, sharp-eyed and uncompromising, The Caiplie Caves is the most ambitious collection yet from an essential poet.' The Telegraph‘Karen Solie should be read wherever English is spoken’. – Michael Hofmann, LRB The Canadian Karen Solie is rapidly establishing a reputation as one of the most important poets at work today. Her fifth book of poetry, The Caiplie Caves, is a profound and timely consideration of the nature of crisis: at its heart is the figure of St Ethernan, a seventh-century Irish missionary to Scotland who retreated to the caves of the Fife coast in order to decide whether to establish a priory on May Island or pursue a life of solitude. His decision would have been informed by realities of war, misinformation and power; Solie imagines this crisis also complicated by grief, confusion – and a faith placed under extreme duress. Woven through Ethernan’s story are poems that orbit the caves’ geographical location, and range through the recurring violences of history and myth, of personal and public record. In poems of the utmost lyric subtlety and argumentative strength, Solie addresses how we might distinguish self-delusion from belief, belief from knowledge – and how, in the frailty of our responses, we can find the courage to move forward.'Powerful, philosophical, intelligent . . . [Solie is] especially adept at pulling great wisdom from the ordinary' — Anne Carson, Kathleen Jamie, and Carl Phillips, Griffin Poetry Prize Judges’ Citation

Winner of the Latner Writers' Trust Poetry Prize "Introducing Karen Solie, I would adapt what Joseph Brodsky said some thirty years ago of the great Les Murray: ' . . . He is, quite simply, the one by whom the language lives'. . . And, yes, as we embark on the third millennium of our so-called Common Era, she is indeed the one by whom the language lives." --Michael Hofmann, London Review of Books A sublime singer of existential bewilderment, Karen Solie is one of contemporary poetry's most direct and haunting voices. A poet of the in-between places--the purgatory of wayside motels and junkyards, the abandoned Calgary ski jump and the eternal noon of Walmart--her poems stake out startlingly new territory and are songs for our emerging world, an age of uncertainty and melting icebergs. In Solie's new collection, The Road In Is Not the Same Road Out, she restlessly excavates our civilization, the moments of tough luck, casual violence, naked desire, and inchoate menace, pursuing "Beauty and terror / in equal measure" and fixing on the "Intrigue of a boarded-up building. / We want to get in there and find out what's the matter with it." Amplifying the elegant recklessness of her Griffin Poetry Prize-winning collection Pigeon, these poems bear an uncanny poetic intelligence and unflinching vision.

Karen Solie won the Canadian Griffin Prize with only her third collection, Pigeon, in 2010, and has quickly established herself as one of the most distinctive and unsettling voices in Canadian poetry, a 'sublime singer of existential bewilderment'. Her poems are X-rays of our delusions and mistaken perceptions, explorations of violence, bad luck, fate, creeping catastrophe, love, desire, and the eros of danger, constantly exposing the fragility of the basis of trust on which modern humanity relies. They are double-edged, tense and tender, an edgy blend of irony and guts, of snarl and praise, of sharp intelligence and quizzical ambiguity. Poetry Book Society Recommendation.

Launched to prominence with her first collection of poems, Karen Solie continued her upward trajectory with Modern and Normal. Now, with Pigeon, this singer of existential bewilderment takes another step forward. She finds an analog for the divine in a massive, new model tractor and an analogue for the malign in the face of the New York Yankees Alex Rodriguez. Her poems are X-rays of delusions and mistaken perceptions, intellectual explorations of bad luck, creeping catastrophe, and the eros of danger come dressed to kill. Her ear is impeccable and her syntax the key to a rare, razor-sharp poetic intelligence. Pigeon expands Solie s growing readership, making clear to anyone who encounters her that there is still fresh, unmapped territory in the world of poetry. As poet Michael Hofmann said, "Solie s work should be read wherever English is read.""

Evade your eye. Try to see as others do what is desired or refused. What went wrong. Or right, then wrong. Objectively, what hangs. Pull yourself together. Years are neither kind nor cruel. You drag on. The girl is gone. Consider that it might be time to call in a professional. Blood is fearless, runs to meet a touch, indiscriminate, remembering the first time it fell in love with the world, unaware that now you are alone. From "Mirror" In Modern and Normal, Karen Solie takes her on-the-road fascination with being between places to a new level, exploring conceptual and perceptual states of in-betweenness - for example, between what is perceived and what is actually there, or between and among the patterns the world repeats from the cell to the structure of the universe - to find points of intersection. Solie finds a middle ground between the discourses of the hard sciences and the intuitive, a realm of weird overlap wherein lie questions of probability, fate, determinism, chance, luck, and faith. She writes about fractals and physics, but also about bar bands, broken hearts, and the trappings of desire. Some splendid landscape poems celebrate nature while mourning the way in which it's often exploited and used. Once again Karen Solie offers readers her lovely dexterity and skill in poems which entertain as they move.