The Lost Letters eBook Catherine Greenwood
Download As PDF : The Lost Letters eBook Catherine Greenwood 
Atmospherically light and stylistically expansive – poems that regard our givens as a gift.
Don McKay's description of The Pearl King and Other Poems, Catherine Greenwood's wonderful first book, also apply to The Lost Letters 'With discerning wit and a large range of styles and voices, she holds up each subject for contemplation as though it were a pearl. . . .'
At the centre of The Lost Letters is a sequence of radically diverse poems based on the story of Heloise and Abelard, truly lovers in a dangerous time, the twelfth century. The raw material is heavy, tension between flesh and spirit being the serious issue carried forward from the twelfth century into the twenty-first. But Greenwood's deft and delicate handling of scenarios of love requited but balked becomes a perceptive reading – extraordinarily inventive and constantly surprising – of contemporary secular society.
The Lost Letters creates a world of wonder tinged with sadness on behalf of so much that goes unnoticed, whether it's a bin of severed sows' ears, a lizard tethered by its tail who severs it by self-amputation, or a down-and-out old schoolmate.
The Lost Letters eBook Catherine Greenwood
The medieval tale of Heloise and Abelard is more a literary conceit than back story in Canadian poet Catherine Greenwood’s masterful second collection, The Lost Letters. The 12th Century French lovers, whose illicit relationship produced a child, then public shame (and ultimately poor Peter Abelard’s emasculation), exchange a series of letters late in life – she has become a nun, he a monk. But Ms. Greenwood wisely taps more into the inner hagiography of what the pair might have written had they not been constrained by circumstances, than in tackling the thornier issue of extant historical documents. Thus, she pursues a broader and more imaginative meditation on love, life and loss.Whereas her dazzling first book, The Pearl King and Other Poems, was more firmly rooted in a structured narrative, The Lost Letters weave a type of medieval tapestry that intersects modern sensibilities as in “Astrolabe,” where the student muses to her teacher on the “indigo ceiling stippled with glow-in-the-dark stars,” and Saturn is Styrofoam and Pluto, “a Ping-Pong / ball, bounces along the galactic plane/ conducting a melody light years old.”
Ms. Greenwood provides a perfect metaphor for the poet in “Faith”:
I’m a snake-oil peddler, back-road revivalist pitching
visions on tent walls.
And so she is in allusive images, rich in sound, elegantly crafted, “skating a line / between paranoia / and insight,” and aware of how words might reflect more than they say, “in your legendary mirror show me / myself, the true elusive face of one / who never learned to wear a skirt.”
In her first two volumes, Catherine Greenwood has established herself as inventive and visionary as anyone writing today. Both books find emotional truth in lives she creatively imagines and then inhabits. Innovative, compelling, masterful – any adjective will sound clichéd, but the poetry clearly transcends whatever praise this or other reviewers write. Bravo!
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The Lost Letters eBook Catherine Greenwood Reviews
The medieval tale of Heloise and Abelard is more a literary conceit than back story in Canadian poet Catherine Greenwood’s masterful second collection, The Lost Letters. The 12th Century French lovers, whose illicit relationship produced a child, then public shame (and ultimately poor Peter Abelard’s emasculation), exchange a series of letters late in life – she has become a nun, he a monk. But Ms. Greenwood wisely taps more into the inner hagiography of what the pair might have written had they not been constrained by circumstances, than in tackling the thornier issue of extant historical documents. Thus, she pursues a broader and more imaginative meditation on love, life and loss.
Whereas her dazzling first book, The Pearl King and Other Poems, was more firmly rooted in a structured narrative, The Lost Letters weave a type of medieval tapestry that intersects modern sensibilities as in “Astrolabe,” where the student muses to her teacher on the “indigo ceiling stippled with glow-in-the-dark stars,” and Saturn is Styrofoam and Pluto, “a Ping-Pong / ball, bounces along the galactic plane/ conducting a melody light years old.”
Ms. Greenwood provides a perfect metaphor for the poet in “Faith”
I’m a snake-oil peddler, back-road revivalist pitching
visions on tent walls.
And so she is in allusive images, rich in sound, elegantly crafted, “skating a line / between paranoia / and insight,” and aware of how words might reflect more than they say, “in your legendary mirror show me / myself, the true elusive face of one / who never learned to wear a skirt.”
In her first two volumes, Catherine Greenwood has established herself as inventive and visionary as anyone writing today. Both books find emotional truth in lives she creatively imagines and then inhabits. Innovative, compelling, masterful – any adjective will sound clichéd, but the poetry clearly transcends whatever praise this or other reviewers write. Bravo!
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