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  Camille Martin

  Poetry and Collage

 

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BOOKS and CHAPS:
 

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Sugar Beach, my most recent chapbook - and the second with Above/Ground Press in Ottawa - is now available! This chap contains poems from two new manuscripts: R Is the Artichoke of Rose (minimalist poems about things like goldfish anuses and the sizzle of the last protozoan) and Blueshift Road (some more or less cosmic peregrinations).


Above/Ground page with sample poem

 

Jack Goodall of Flat Singles Press writes:

"As with the superhero in 'Requerimento' and the birds of 'Birdless,' Martin writes in terms of reality impregnated with human cynicism that seems modern and unromantic. But the combination of the sacred and human is the key to Martin's originality and is perhaps at its best demonstrated in the melting Antarctica of 'Endless Regression of Heavens.' It's an involving, beautiful, and unnerving piece."

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Available from local bookstores, Shearsman Books,
Small Press Distribution, Amazon.com, Amazon.ca,
Barnes & Noble, The Book Depository

For their support of the writing and completion
of this book, I’m grateful to Brick Books (for a Writers’
Reserve grant), the Ontario Arts Council, and the City
of Toronto through the Toronto Arts Council.
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Looms, my fourth poetry collection, is now available!
Shearsman Books page with PDF sample
To order, see links under book image.

The title of Looms signifies the weaving tool as well as the shadowing appearance of something,  These “woven tales” were inspired by Barbara Guest’s statement that a tale “doesn’t tell the truth about itself; it tells us what it dreams about.” The strands of their surreal allegories converse, one idea giving rise to another, and the paths of their dialogue become the fabric of the narrative. In a second meaning, something that looms remains in a state of imminent arrival. Such are these tales, like parables with infinitely deferred lessons.

Meredith Quartermain: In tightly woven tapestry, Martin's “backstreet songs” re-invent a music of knowledge that navigates the hucksterism and catastrophe threatening our planet. The movement of her threads is fugue-like, punctuated by oboes and clarinets, mockingbirds and cicadas. Here, in the dream-space of time-lapse film, forms of life and ideas collide and morph, rippling through centuries of human consciousness to unravel as quickly as they ravel. Here, above all, Martin makes it possible to dance among our “origins in snake oil,” our “crusades to mirages” and our “accidental fictions.”

Arielle Greenberg: A dreamscape on the outskirts of town, “in the badlands of the vernacular,” these hopeful, haunted poems populated by children and prisoners “hover between” realms domestic and exterior, real and imagined.  Like candles described herein, this book gives off a melting, tactile glow.

rob mclennan:
There is such an expansiveness to Martin’s Looms. The poems exist in that magical place where words, images and ideas collide, creating connections that previously had never been.

Steve Spence for Stride Magazine:
[Looms] has a very painterly, noir feel, alienated and penumbral, taut yet expansive. Impressive and addictive.

Mark Truscott on If Leaf, Then Arpeggio, a chapbook of poems from Looms:
Martin somehow manages what I'm tempted to call a closely attentive automatic writing. Her textures ad subtle and rich but still loose.


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Available from local bookstores, Shearsman Books ,
Small Press Distribution , Amazon.com , Amazon.ca ,
Barnes & Noble , The Book Depository.

For support of the writing and completion of this book,
I'm grateful to the Ontario Arts Council
for a Works in Progress grant.

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Praise for Sonnets
(Shearsman Books, 2010):

Rae Armantrout: In these taut, fast-paced, self-aware poems, the lyric meets 21st century paranoia and sparks fly.

Jordan Scott: There is magnificence in these poems, a poetic magnetic, propelling you to turn the page.

Sheila E. Murphy: Camille Martin’s poems shimmer with repetition deft as sweetest breath mid-spring.

Quill and Quire: There’s none of the lyrical self-absorption one finds in too many collections. . . Martin has a very good ear, as in a fun, almost Hopkinsesque piece that flirts with nonsense, but stays syntactically coherent.

rob mclennan: There are so few who seem to know how to bring something new to an often-used form that when it happens, it’s worth noting, and such is the case with Camille Martin in Sonnets. Martin writes with the most wonderful sense of clarity, thought and play in these poems.

James Mc Laughlin, Stride Magazine: Sonnets is a delightful body of work. Even though we wander into the oblique there is never alienation. Incredible poetic craft.

Carol Dorf, New Pages Book Reviews: Can you pour new wine into old bottles? Well, if you are Camille Martin and the bottles are sonnets, the answer is an emphatic “Yes.”

 
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If Leaf, Then Arpeggio (chapbook)
Above/Ground Press, 2011

Mark Truscott: Martin somehow manages
what I’m tempted to call
a closely attentive
automatic writing. Her textures are subtle
and rich but still loose.

 


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Codes of Public Sleep
BookThug, 2007

Carla Harryman: Codes of Public Sleep breaks open the code of private thought to modes of knowing catastrophe that defy insufficient isolating sagas. Camille Martin's poetry is the shattering signal from a laudably wild tongue that will not keep still for our death-drive culture. This is a remarkable collection.

 
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Sesame Kiosk

Potes & Poets, 2001 (out of print)

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