Series 2, book 6 of 10
This book was written over two hundred years. It was started as a colonial project. From there it developed through the use of the archive as a consideration of historical narrative. The poem employs a Susan Howe-esque archival practice that selectively disseminates Canadian short stories to think about erasure and failures of settlement: to disclose an underlying colonial reality of the pastoral, and measures of inclusion and exclusion. The poems are familial but underlying this is the glowering absence of the historic, a generative absence which exemplifies how early / prairie literature is culpable in driving a national myth which forgoes Indigenous life.
As a child I was fascinated with rope-braiding machines. Even before I could manage the handle, I could watch them for hours. I consider tension as a form of kinetic energy. Words from archives are interwoven, assembled to mimic this type of tension. These narratives are bound to the manner in which we write the histories of our nation. We are all of these stories, and they are none of us. This rope can be used to bind, or …
Read John Kinsella's introduction to False Fruits.