Keith Harrison

This book is a new departure in which he has tried to convey, in glimpses, and through the characters he's met, something of the inner tone and timbre of his long life in three countries. As he's spent a good deal of that life thinking about writing, the poems and experiments in poetry he's included are given a context that are not found in the individual volumes of his work, nor in CHANGES (New and Collected Poems, 1962-2002). This is not an autobiography in the usual sense, but an attempt to give a kind of musical structure to remembered experience, in which ellipses, leaps and silences are essential elements of the narration.

This book explores how Bakhtin’s ideas can illuminate the compelling but uneasy fusion of Shakespeare and cinema. With a wide variety of tones, languages, cultural orientations, and thematic concerns, film directors have updated, translated, transposed, fragmented, parodied, and geographically re-situated Shakespeare. Keith Harrison illustrates how Bakhtin’s interlinked writings in various fields can fruitfully be applied to an understanding of how the ongoing responsiveness of filmmakers to Shakespeare’s historically remote words can shape self-expressive acts of co-authoring in another medium. Through the use of such Bakhtinian concepts as the chronotope, heteroglossia, the carnivalesque, and polyphony, Harrison details how filmmakers—faithful to their specific cultures, genders, geographies, and historical moments—dialogically locate their particularity through Shakespeare’s presence.

In this gathering of old and new poems, Keith Harrison offers specific and wide-ranging instances of how love works, tangibly, undeniably, in our lives. The poems range from mischievous aphorisms to the darker ironies of divorce, from the lyrical to the elegiac, from lost love to joyful affirmation. Taken together, they are features of an incomplete map, a catalogue of instances held together by a celebration of our bodies and the immediacy of the physical world.

This book explores how Bakhtin’s ideas can illuminate the compelling but uneasy fusion of Shakespeare and cinema. With a wide variety of tones, languages, cultural orientations, and thematic concerns, film directors have updated, translated, transposed, fragmented, parodied, and geographically re-situated Shakespeare. Keith Harrison illustrates how Bakhtin’s interlinked writings in various fields can fruitfully be applied to an understanding of how the ongoing responsiveness of filmmakers to Shakespeare’s historically remote words can shape self-expressive acts of co-authoring in another medium. Through the use of such Bakhtinian concepts as the chronotope, heteroglossia, the carnivalesque, and polyphony, Harrison details how filmmakers—faithful to their specific cultures, genders, geographies, and historical moments—dialogically locate their particularity through Shakespeare’s presence.

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Set in the colourful, intense, competitive Montreal of the 1980s, Harrison's novel explores the efforts of two couples to reach beyond the boundaries of self. Their tangled relationships hang in precarious balance, with the individuals drifting towards confrontation and an awkward, though dramatic, reckoning. After Six Days is written in taut, contemporary prose, its short, explosive scenes alive with the authentic feeling of urban life now.