“Compose” has been accepted for publication by Arc Poetry Magazine in the Spring 2020 issue.
“Sweet Water: Poems for the Watersheds gathers the voices of poets from across Canada, the US and the UK who write of water.” Forthcoming from Caitlin Press.
Contributors include Kate Braid, Gary Barwin, Eleonore Schönmaier, Katherena Vermette, Arlene Pare, John Pass, ariel gordon, Brian Brett, Trevor Carolan, John Terpstra, Russell Thornton, Zoe Landale, Christine Lowther, Elena Johnson, Elee Kraljii Gardiner, Daniela Elza, Rhonda Ganz, Geoffrey Nilson, Pamela Porter, Barbara Pelman, Kelly Shepherd, Rob Taylor, Zachariah Wells, Bren Simmers, and more.
“In Canada, the watershed runs into the Pacific, Arctic, Hudson Bay and the Atlantic. This water houses the aquatic ecosystems that feed and nurture not only the people, industries and animals on land but also drains into the world’s oceans. It is part of the hydrologic cycle that begins with water evaporation to become groundwater that seeps into rivers, streams, lakes and oceans. It is the water we bathe in, drink, and with which we grow our food. As it becomes more and more poisoned from industrial corporations, mining and the many, too many humans on our planet, it also becomes more and more endangered. We are paying attention. We are aware of the watershed moment that we inhabit in the twenty-first century. We know that change must come.”
“Weightless” has been chosen for the Poetry in Motion program.
“A public poetry art project, Poetry in Motion will feature short poems and excerpts from longer poems on transit ads in buses; digital signs at libraries, ferry terminals, and recreation centres; and printed postcards.”
The ten poets whose work will be featured as part of Poetry in Motion’s inaugural year are:
Sylvia D. Hamilton
The selected poems will appear in public spaces starting in October.
“In an age in which we too often desire answers to be black and white, in which we flee from ambiguity and complexity, and in which we find it difficult to see beyond the immediate or to read beyond literal, poetry gives us permission to wonder, permission to find the extraordinary in the mundane, permission to look anew at that which we imagine cannot be seen differently, to wrestle with what may seem unsayable or unimaginable.”
“Pink” has been published in the Work Matters issue of Prairie Fire.
Cover Image by Jonathan Dyck
Additional poems were featured on March 21, World Poetry Day “it didn’t happen here” (winner of the National Broadsheet Contest), on December 17, Conversation (from Treading Fast Rivers) and on November 1, Migrations (from Wavelengths of Your Song) .
“it didn’t happen here” is the winner of the League of Canadian Poets National Broadsheet contest, and was selected by judge D.A. Lockhart for its “strong images, and captivating lyric voice.” Lockhart also states, “It’s nature speaks to the sort of experiential empathy that would do much to our world.” – D.A. Lockhart
You can read an interview with Eleonore Schönmaier here.
The above postcard image was created by Megan Fildes for the League of Canadian Poets.
“jobs that involve creativity, social interaction, and a human touch are hard to automate”
Eleonore Schönmaier’s books can be found in libraries globally including Poets House Library, New York, USA, Helsinki University in Finland, Bibliographie du Quebec, in Canada, Falvey Memorial Library at Villanova University in Pennsylvania, USA, and Biblioteca Madre Maria Teresa Guevara, Universidad del Sagrado Corazón in Puerto Rico among others.
“Eleonore Schönmaier’s Dust Blown Side of the Journey…takes an ecological approach with its rich selection of nature poetry, but her collection is also intimate and self-reflective…Her poems range in national settings, from the Canadian boreal forest, to the Balinese jungle, to the Greek islands, to the ‘remote mountains of Ecuador’…Capturing moments of human greed and human kindness, of striving for community, and of unapologetic joy, Schönmaier’s work is rejuvenating, and offers both a sense of peace and a time for introspection.” —Monica Sousa (read the full review in Canadian Literature).
Photo by Eleonore Schönmaier