Adebe deRango Adem, Quill & Quire, December, 2016.
“Down the paths of most resistance”!
This review truly gets the book, I’m grateful to say! It’s available for $18 from
Adebe deRango Adem, Quill & Quire, December, 2016.
“Down the paths of most resistance”!
This review truly gets the book, I’m grateful to say! It’s available for $18 from
WORDSFEST is happening all weekend long at Museum London: see http://www.wordsfest.com/
Send your responses about the Festival to http://www.wordsfestzine.com/. Work for this zine will be collected from Festival-goers on Friday and Saturday, then published and launched at the Rhino Lounge in Museum London Sunday, Nov. 6, at 5pm. Whew! Here’s my poem for the zine:
Ode for the Feast of Words
Our London Muses, amused, proclaim:
Come join our Museum feast in joy
of joining, reading, weaving a way,
riding a wave, waving a welcome,
well, come in then. Here. Hear!
Attendance’s high, attention is close.
Words are our vocation, invoking
the vocative, pro vocative, calling us,
calling on us, call sure, culture, meeting
our many cultures, collected. Whatever
the weather, we conjure com pose
words worth envisioned, inclusive in
terms of the other, for all our sakes.
Describing the arc, friends collect and
meet new, gathering poets in harmony |
with other authors. Rhythm rhymes us.
Creating community, fusion delights
this spacious collective, call elect if
held in the London community bowl.
The Graces are present, spirits high.
Lift the cup and dance, sing, speak, tell
the tale told, win, write welcome.
O may the best manifest
fest if all festivity
Cheer and exult.
Hail and salute!
Photo: Toban Black
See you at these Upcoming Events!
November 6, 10am. Penn Kemp and Madeline Bassnett read together for this session @Words, Words, London’s Literary and Creative Arts Festival, http://wordsfest.ca/. The Lecture Theatre, Museum London, 421 Ridout St N, London, ON N6A 5H4. Contact: Joshua D Lambier, Artistic Director, firstname.lastname@example.org.
Saturday, November 26, 2-4, pm. Book signing of Barbaric Cultural Practice and Launch of Women & Multimedia and Performing Women: Playwrights and Performance Poets from The Living Archives Series, The Feminist Caucus, League of Canadian Poets: Penn is essayist and editor of the two anthologies.Brown & Dickson, 609 Richmond Street, London N6A 3G3. Contact: 519-318-1983, email@example.com, http://www.brownanddickson.com
Thanks for a grand couple of years to the London Arts Council!
Penn, sounding at Canadian Writers’ Summit at Toronto’s Harbourfront, June 2016. Photo: Monique Renaud for Playwrights Guild of Canada
Wednesday, October 5, 2016; doors open 7:00 pm; start time 7:30 p.m. Quattro Book Launch, Toronto, Supermarket Restaurant, 268 Augusta Ave. (event room at rear of dining area) Free. Contact: firstname.lastname@example.org, http://www.supermarketto.ca/
Six authors: Sanita Fejzić, from Ottawa, with her novella Psychomachia
Penn Kemp, from London ON, with her book of poetry Barbaric Cultural Practice
Susan McCaslin, from Victoria, BC, with her book of poetry Painter, Poet, Mountain
Richard Osler, from Duncan, BC, with his book of poetry Hyaena Season
Cora Siré, from Montreal, with her novella The Other Oscar
Laura Swart, from Calgary, with her novella Blackbird Calling
Friday, October 7, 2016, 7:30- 8:30pm. Tributes + Tributaries, 1971-1989, AGO Friday Nights in October, Signy Eaton Gallery, Art Gallery of Ontario, 317 Dundas Street West, Toronto M5T 1G4. Call 1-877-225-4246 or 416-979-6648. AGO features Penn Kemp and Paul Dutton, sound poets. The topic is streaming influences from the ’70’s: http://www.ago.net/new-ago-exhibition-explores-the-experimental-energy-of-the-toronto-art-scene-in-the-70s-and-80s. More details, including a schedule of performances, will be posted on http://www.ago.net. Host Lillian Allen. Toronto: Tributes + Tributaries, 1971-1989 is included with the price of general admission and is free to AGO members.
“I am wanting to feature some of the roots of the aesthetic influence on our city. I am thinking about the important and artistically liberating roles your (mostly) sound works played. The fact that you were a woman inspired me so much. Your sound explorations and experimentations always make me feel so happy and empowered. The power of your art has never left me. So I am paying tribute to you by asking you to read/perform in this series.” Lillian Allen. https://www.ago.net/toronto-tributes-tributaries-1971-1989
Tuesday, October 11, 7 pm. London launch of Penn’s poetry book, Barbaric Cultural Practice (Quattro Books). Oxford Book Shop, 262 Piccadilly Street, London N6A 1S4.
Contact: Hilary email@example.com. Tel: 519-438-8336.
Saturday, October 15, 2016, 2 pm. Penn reading from her play “The Triumph of Teresa Harris” and Barbaric Cultural Practice. With Daniel Kolos, Antony Christie. The Garafraxa Café, 131 Garafraxa Street South (Highway 6), Durham ON. Contact: firstname.lastname@example.org or Michelle and Kevin Bossi, 226-432-2175, email@example.com. Sponsored by Playwrights Guild of Canada.
The latest book of poetry by Penn Kemp, forthcoming October 1, 2016 from Quattro Books.
In praise and rant, the poems in Barbaric Cultural Practice pay tribute to our dear Mother World’s enchantments as well as her upheavals. They confront the stresses of urban life as juxtaposed to nature’s round, and deal, for example, with the effect of computers on our psyche and with the imprint of electronic media upon perception, consciousness and dream life. They are a response to the need for action against climate change and a humorous protest against overwhelming technology.
“… quirky, witty, funny, deep, wise & full of surprises.”
– Di Brandt, author of Walking to Mojácar
“Barbaric Cultural Practice is an urgent set of makings, of remarkable and dramatic word-acts, that reminds us that language – the hallmark of civilization – also enables barbaric, human imposition on Nature and the eternal. The inaugural Poet Laureate of London ON, Penn Kemp is an expert tool-and-die versifier. Proof? Well, that very pun you’ve just read is indebted to her, for she employs every poetry technique available – every tool in the toolbox – to stress the stubborn connection between concrete reality and supposedly abstract words. Nor does Kemp flinch from pondering how our distancing embrace (that’s not an oxymoron) of electronica interferes with our relationships to the earth, each other, and to Art. Barbaric Cultural Practice is so timely, it is an alarm clock, shocking us awake to our drowsy, Eloi circumstances.”
– George Elliott Clarke, Parliamentary Poet Laureate
“Penn Kemp, a poet at the peak of her powers, casts a loving gaze at poetry’s purpose, at our planet and all sentient beings. Through loving attention, wordplay, whimsy and wit, dream and prophecy, Kemp transforms the ineffable into an elegant expression of life deeply envisioned. Through metaphoric shape-shifting, Kemp shows us that “My work is the translator’s, to move one/ sense into another’s realm.”(“Blow by Blow”). This gift of synaesthesia heightens her calling for us to take our earthly stewardship to heart: These are poems to meditate on, to incorporate into the interstices of our layered lives. In the book’s title, Kemp transforms a political gaffe, “barbaric cultural practices”, into an elegy for earth and heart-song for each other. Above all, Love is this exceptionally talented and seasoned poet’s guiding light.”
– Katerina Fretwell, author of Dancing on a Pin
“In Barbaric Cultural Practice we are treated to some of the most clear-eyed, keenly felt articulations of the present moment, as well as Penn Kemp’s boundless capacity for play: the simmering, tangling, rocketing, warbling, wooing, cooing, and joyful boogieing of her poems working themselves onto the page. Kemp’s feet are so sure, dancing on that lip. Through this book we learn all that’s at stake between the poem’s lines. ”
– Laurie D. Graham, author of Settler Education
“Penn Kemp’s work is profoundly mystical, a tour into otherworldly realms but informed by this world’s concerns, the depth of poetry, and the ability of her language to cross borders into metaphysical realism.”
– Leona Graham, author of Cloudbank Across the Fens
“Kemp walks the line, exploring a new syntax of language, whether celebrating the goddess or the dance between voice and machine, hand to iPad, to transmit this map of her mind and dreams.”
– Dennis Maloney, author of Listening to Tao Yuan Ming
“Penn Kemp’s Barbaric Cultural Practice brings together etymological, sonic, and cultural layerings of the words “barbaric,’ “cultural,” and “practice.” This electric new volume distinguishes the truly creative and evolutionary from what impedes a fuller engagement with each other and with planet earth. In these poems, the source of true wildness (wilderness) calls heart to heart: “I has widened to include/ you and you and you.”
– Susan McCaslin, author of Painter, Poet, Mountain: After Cézanne
“What happens when the lyric power of a highly experienced and galvanically charged poet dances in the electron stream? Barbaric Cultural Practice collects a decade’s poetic exploration of digital absurdities, of earth’s vitality and grave needs, and of community. Penn never just reads: she performs, even on the page; we can’t help but listen. Connect with the surging circuit of her energetic and eclectic words, connect and recharge.” – Susan McMaster, editor of Waging Peace: Poetry and Political Action
“Penn Kemp’s Barbaric Cultural Practice is a stunning and magical tribute of travel wisdom of vision of longing of voices and of Goddess ways of seeing into and circumnavigating the heart of old ways of ancient catapulting into futures of tech-knowledge-able dancing back and forth of swaying of seeds of truth gardening matter of otherworldly mantras singing of the everyday made extraordinary. what movement in stillness what stillness in motion. what beauty what love!”
– Sheri-D Wilson, author of Open Letter: Woman Against Violence Against Women
“What is it like, writing a poem? Penn Kemp knows. She has spent her life performing poetry, publishing poetry, being poet-in-residence, Poet Laureate, poster-person for other poets. Now she stows her yellow pencil, fingers the keys of her computer, opens a new window and waits for a poem to find its way onto the desktop.
This is the poem and I
take no hand in it. I
want to write a comedy.
That’s rich. That’s fun-
ny laughs the voice in
my head that keeps
right on talking the poem
down the tree and onto
That is from “Cogito Ergo Sum” in the first part of Penn Kemp’s new collection of poems, Barbaric Cultural Practices. Penn likes to play jokes with words, but it’s no fun finding familiar words playing silly tricks under the direction of the electronic impersonal:
How have I come to man-
ipulate this trackball
with fingers on a keyboard?
We are beyond the mouse.
My Spell Checker would change Cogito to Caught.
For someone’s Suggest salmon’s.
For trackball Suggest traceable
For Change all Ignore
For Add For Options
For Delete Close.
After you push the “Page Down” button, you can move to other sections, less high-tech, dealing with topics like “House – Hold – Man – Age – Meant.” Or with hearts, and strokes:
His mind is air-brushed
to a whiter, more spacious landscape
reflected in such snowy waste outside.
So we sink into sweet reverie fireside,
unthinking, unburdened, cuddled and
coddled warm by flame and the scarlet
beauty of this moment in flower here
only once but all the more present in
daring our ambivalent future dissipate
fear for now. Say it straight. For now.
Happier moments flower in poems like “Dream Visit, in Tune, In Time.” The rhythms, the internal rhymes, the spaces, work against logical walls:
Brilliance resounds all around. Redbud, mock-orange boughs
bow in the heightened breeze. Resonance ripples and whirls
to restore, re-story this walled garden.
But against the whimsical sequence of “Dream Sequins” Penn Kemp sets TV realities
I fall through the screams . . .
Women and men cleaving, cleft, bereft.
Dispossessed of a West they thought they knew.
Dis/oriented, where do they turn?. . .
Then another twist, and Penn Kemp launches a final fantastic essential plea for light:
Let us eat light like
plants. Let us chew
the bright air till we can
swallow light like
fire-eaters. Let us
assimilate light . . . .”
– Elizabeth Waterston, author of Readying Rilla: L. M. Montgomery Reworks her Manuscript
“Penn Kemp is an icon in the cultural landscape. Her biography page on her blog states she has over 25 books of poetry and drama published, plus six plays and numerous works recorded on different electronic means. But this new work is brilliant in its form… Kemp has done something enlightening for readers by using the term for this collection of poetry. She has crafted her personal thoughts and views in this work and given all of us something to consider about our own actions… Literature should cause a reader to consider their world and their actions in the world around them. Penn Kemp has done that for me with her collection Barbaric Cultural Practice. No doubt I will be reading it again and quoting it here.”
– Steven Buechler, https://pacifictranquility.wordpress.com/2016/08/02/making-us-consider-our-actions-discussion-of-penn-kemps-barbaric-cultural-practicequattro-books-to-be-launched-autumn-2016/
Cover Painting of Barbaric Cultural Practice by Anne Anglin
Quattro Book Launch, Wednesday, October 5, 2016; doors open 7:00 pm; start time 7:30. Toronto, Supermarket Restaurant, 268 Augusta Ave. (event room at rear of dining area) Free. Contact: firstname.lastname@example.org, http://www.supermarketto.ca/
Cover Painting, “Transporting” by Anne Anglin
Sample poems: “Tip Line”, “The Nature of Food”, Tuck Magazine,
“Synaesthetics”, “Filling the Cart” and “Giving Your Word”, Tuck Magazine, http://tuckmagazine.com/2016/09/05/poetry-512/
What a celebration of Canadian writing in all its forms! Such an opportunity on such a scale is unprecedented in Canada and a terrific occasion for synergy. It will be fun to meet old friends from across the country and to hear and meet writers new to me.
By their public nature, plays have a great sense of community and collaboration, involving so many— whether on stage, off stage, or in the audience. Other writing forms are more private or personal: the author of a poem or novel is single
Plays written with the local in mind bring that sensibility wherever they are performed across Canada, so that we get to know each other better, experiencing different communities and perspectives in their public expression. The particular becomes universal.
I’m closely tied to the idea of collective in writing and co-creating plays. For me playwriting is an interactive political act as the actors are so immediately present and engaged with the audience. The stage offers a chance for dialogue among opposing personalities, forces, themes, opinions: that’s what makes up a drama.
I think our deepest purpose as playwrights hasn’t changed since Aristotle stated claimed that drama should portray a form of truth. Molière claimed that tragedy might be heroic, but comedy must hold the mirror to nature. To continue the idea that plays reflect nature as well as society, I can but quote Hamlet in his advice to the players:
Suit the action to the word, the word to the action, with this
special observance, that you o’erstep not the modesty of nature:
for any thing so o’erdone is from the purpose of playing, whose
end, both at the first and now, was and is, to hold as ’twere the
mirror up to nature: to show virtue her feature, scorn her own
image, and the very age and body of the time his form and
Every year, the Feminist Caucus of the League of Canadian Poets publishes a chapbook. At the annual League meeting last June, I suggested the topic, Women and Multimedia, and agreed to edit such a work. Ideas proliferated so quickly that it soon became apparent that we’d need another anthology: Performing Women: Playwrights and Performance Poets, for which I put out a call. What started off as chapbooks soon expanded to 70-80 pages each. The two anthologies I edited will be launched at the Summit. See www.poets.ca/feministcaucus. We are also hoping to produce a CD, Performing Women, from the panel proceedings.
Our project is a joint venture between Playwrights Guild and the League of Canadian Poets. How wonderful to see the close and keen co-operation between our writers’ organizations in supporting both the panel and the anthology— a collaboration to be celebrated in itself! With thanks to Anne Burke, chair of the Feminist Caucus and publisher; the League of Canadian Poets staff; and Robin Sokolski from Playwrights Guild of Canada: they were midwives to this anthology.
Our panelists are playwrights, performers, poets… and several are all three. Kelley Jo Burke and Cornelia Hoogland were sponsored by the Guild of Canadian Playwrights. Catherine Kidd, Susan McMaster and I were sponsored by the League of Canadian Poets. Sheri-D will be with us in spirit: her work is in the anthology
Each panelist will present her experience and ideas concerning performance— reading from her essay or performing work that illustrates her points. We’ll conclude with a Q & A. I’m truly honoured to work with such talented co-creators. It is inspiring to hear the personal stories that have transcended and unfolded with creases the tumultuous experience of twisting experience and ideas into art
“Playwrights and Performance Poets: the Panel, the Anthology”
Here’s an anthology that surges with energy to create a resonating concert of variety and scope. These pieces are not just lifted off the page: they are singing, dancing spheres of possibility, sparking new connections. So many threads weave through the works. With titles like these, how could you not read on?
Kelley Jo Burke, “Why Ducks, Anyway?”
Cornelia Hoogland, “Red Dresses Hang from the Trees and Towers: Red and Rapunzel are Missing”
Penn Kemp, “Sounding the depth, the surface resounding”
Catherine Kidd, “Zoomorphic Poetics (or, Why I Write So Many Poems About Wildlife)”
Susan McMaster, “How does collaboration enhance performance poetry? The Intimate Power of Co-Creation”
Sheri-D Wilson, “Spoken Word Poetry as Political Act”
For the cover of our anthology, I’ve chosen the red dress of REDress, contributed by Cornelia Hoogland. This emblematic installation connects us graphically to the natural world: the post comes alive as a woman wrapping her arms around herself. Cornelia writes that she had “a fulsome email discussion with women who i thought were in a better position to provide a caption. Here is what we’ve ended up with, written mostly by Maxine Matilpi:”
“This installation was inspired by Jaime Black’s REDress project, an aesthetic response to the more than 1000 missing and murdered Indigenous women in Canada. The location, Village Point (on Denman Island, B.C.), formerly a Pentlatch village, serves as a reminder that the story of missing and murdered Indigenous women is not only a current reality but is also deeply connected to colonial history.” Maxine Matilpi
Such a moving tribute is one of the most profound ways of stirring folks to take action for change, however it manifests. The line between actor/subject and audience dissolves in a sense of our mutual humanity. I believe that such shared participation is a core purpose of performance art, whatever guise it takes.
Performance of necessity demands a wider exploration and communication of the subjective self, as it expresses itself in the world with other people and/or other mediums. How does collaboration enhance and expand a single artist’s vision? With that sense of inquiry in mind, I called for playwrights and poets to explore the topic of women performing. Three of our contributors are primarily Spoken Word poets. It is fascinating to read how these women have expanded the possibilities of performing to include ritual and visual references as well as the resonance of sound.
Performing Women: Playwrights and Performance Poets can be read along with the Feminist Caucus anthology Women and Multimedia. All but one of the contributors to Women in Performance are also members of the League of Poets, so their work fits in beautifully. For even more synergy, take a look at these poets’ essays from Women and Multimedia: Poetry Collaboration/Elaboration: don`t these titles entice you to read on?
Di Brandt, “Wild, wild, wild woman”
Terry Ann Carter, “Poetry and the Artist’s Book
Moe Clark, “Prayer + Performance: Intersections of poetic transformation
Penn Kemp, “I am translated: How does multimedia give form to a poem’s alternate expression?”
Judith Neale, “Sum of all parts”
Cathy Petch, “De-Mystifying the Language of Tech”
Performing Women: Playwrights and Performance Poets is available from http://www.poets.ca/feministcaucus/ and the copyscript program of the Guild of Canadian Playwrights, https://www.playwrightsguild.ca/about/programs-and-services, Contact email@example.com.
5) People are perhaps most familiar with your work as a poet, especially in your capacities as the inaugural Poet Laureate of London, Ontario (2010 – 2012) and your Life Membership in the League of Canadian Poets. What drew you to playwriting? How influential is your poetic work on your playwriting? How do you balance your roles as poet, performer, and playwright?
All of my plays have begun as poems. In poetry, I can succinctly express the essence of my preoccupation in concrete lines that can then be drawn out, teased into different voices and displayed more elaborately on stage. My first concern is always with language itself, how a voice finds itself. I was drawn to playwriting when I started to hear voicesJ that grew more insistent as a theme developed. These voices erupted into dialogue and the conversation continued. Poetry is a fireball; sometimes it radiates out in different expressions into different characters.
Writing poetry is a necessarily solitary pursuit. I’m my own editor. But in plays, I depend very much on collaboration, even while the script is in process. I’ve worked with brilliant directors like Anne Anglin and Louise Fagan who have more of a dramatic sensibility than I do. They can visualize and enact the narrative thrust and arc of the drama. They can imaginatively realize the action on stage in ways that I don’t.
Sometimes, one form demands to be and experienced from the different perspectives of other art forms: a performance, a monologue, a drama. As an activist and Poet Laureate, I was able to draw attention to local and global issues in the community. When a poem can not contain such imperatives, I turn to plays or what I call Sound Opera. This is a collaborative form I developed in performance and recording over the last four decades, in a desire to lift poetry off the page to the stage. Our first performance, directed by Anne Anglin from my book, Trance Form, was in 1976 at Harbourfront. Sound Opera is based on text but it expands poetic possibilities to include voice, music and movement in expressing narrative when emotions burst the seams of print. Anne also directed my play, What the Ear Hears Last, for Theatre Passe Muraille: a translation of my long poem, When the Heart Parts. The latter is also a Sound Opera!
The focus is different on stage. When I write plays, I am thinking politically and publicly about some topic that vexes or intrigues me. I am taking a position and attempting to persuade and to present different views. For example, my first play, ANGEL MAKERS, presented the first play dealing with abortion in Canada. Though firmly pro-choice, it presented the complex experiences of the six characters. My first radio play, BEARING DOWN, portrayed a woman in labour and its aftermath in a long sound poem on a subject that had not been articulated. What the Ear Hears Last is about a man dying in hospital, another subject that was at the time taboo, developed as well from a sound poem.
Thanks for the opportunity to articulate my writing process!
6) In a 2014 interview with Stan Burfield, you speak in great detail about your love of world mythology. How does that love translate itself into your playwriting?
Certainly my first play is based on fable and fairy tale. The Epic of Toad and Heron was created as a protest when Toronto Islanders were threatened by Metro with eviction. Instead of buttonholing Torontonians in protest, I chose to write a play that was first performed on the Island (and subsequently in schools). Even now my hero, the flying Toad, is proudly displayed on the Toronto Island flag.
Mythology for me is closely connected to the poetic spirit, where archetypes can dance more abstractly than on the stage. Perhaps my connection to mythology in theatre comes through my love of history and history’s resonance in the present. My latest play presents a Victorian woman, Teresa Harris, who marries to leave her colonial life in London ON, much as I did a century later. How does her life correspond with and differ from my own, or yours?
Another long poem, ANIMUS, had its own narrative arc that director Anne Anglin and I developed into a play, EROS RISING, Theatre Passe Muraille. It is also a Sound Opera, Re:Animating Animus . The recurring theme in both Sound Opera, poem and play is the myth of Eros and Psyche. That archetype is apparent in each title.
7) Do you have any advice for aspiring playwrights? What advice do you wish you had received when you started writing?
When I started writing for theatre, it was 1975, and Canadian theatre was just coming into its own: a very exciting time that allowed for theatre to break down the fourth wall. I came of age in the flaunted Sixties, so capitalism was anathema to me if we were going to change the world. It would have been useful through the years to realize that a more pragmatic approach was necessary if I were to support myself as a writer into old age. My way was to lower my standard of living through the decades since!
I think young artists are much more aware of the practical business demands of getting the work out there: the necessity of promotion and marketing through the present avenues that social media offers. So, aspiring playwrights… Let that spirit of the Sixties expand the possibilities of theatre. May collaboration replace competition. Throw caution to the winds and keep the doors open to let that fresh air blow through all your preconceptions of what theatre can be. But keep your business savvy.
8) What’s next for Penn Kemp?
This summer, I’ll be preparing several plays, Eros Rising and The Dream Life of Teresa Harris for the copyscript program. And hanging out in the garden.
March 2017 will be a busy month for me! Forthcoming then is a new collection of poetry, Barbaric Cultural Practice, from Quattro Books as well as a play, The Triumph of Teresa Harris. I’ll be working on this play after the Summit… trying not even to think about it till then! But it’s an exciting project. Eldon House Heritage Museum and The Palace Theatre in London have asked me to develop The Dream Life of Teresa Harris, an earlier processional play I did at Eldon House, into a two full act production for the Palace Theatre, with ten actors and the original two musicians. Teresa Harris was the youngest daughter growing up in Eldon House. She became one of the greatest explorers of the Victorian age, but her character is complex and contradictory: she remains a woman of her times. A fascinating project that once again began with a long poem.
“Featured Playwright Q&A”, 2016
The Cover of “Women and Multimedia”
Photo: Daniela Sneppova for “The Dream Life of Teresa Harris”
Upcoming Events for National Poetry Month 2016 and ON
Saturday, April 16, 2-4 p.m. The Garafraxa Café, 131 Garafraxa Street South (Highway 6), Durham ON N0G 1R0. National Poetry Month reading: “The Road” with Daniel Kolos and Liz Zetlin. See http://poets.ca/npm/. Contact: firstname.lastname@example.org or Michelle and Kevin Bosse, 519-369-2175, email@example.com. See http://poets.ca/npm/.
Thursday, April 21. Post a poem on #pocketpoem, poets.ca/pocketpoem
Thursday, April 28, 6:30-8:30 pm. WRITING YOUR WAY!. Writing workshop and reading. Beacock Library, 1280 Huron St, London, Ontario N5Y 4M2, (519) 451-8140. 2016 Creative Age Festival. National Poetry Month. Penn’s reading/workshop will be “The Road, The Path, The Way Not Taken: Writing What If”. “You inspired so many writers last year that we would love to have you back again for the 2016 Creative Age Festival. Your Poetry is bound to inspire as always.” Contact: Pauline Duncan-Thrasher, Community-Library Liaison, firstname.lastname@example.org. Free but you need to register:
Saturday, April 30. Authors for Indies Day, Oxford Book Shop, 262 Piccadilly Street, London, N6A 1S4. Contact: Hilary email@example.com. Tel: 519-438-8336. www.oxfordbookshop.com, http://www.authorsforindies.com/.
Tuesday, May 3. Glendale High School, 37 Glendale Drive. Tillsonburg, ON N4G 1J6. TEL: 519-842-4207. Contact: John Marriott <firstname.lastname@example.org>. Sponsored by the League of Canadian Poets. Poets in the Schools National Youth Arts Week.
Thursday, May 5, 6:30-8:30 pm. WRITING YOUR WAY!. Writing workshop and reading. Beacock Library, 1280 Huron St, London, Ontario N5Y 4M2, (519) 451-8140. 2016 Creative Age Festival. http://poets.ca/npm/. Penn’s reading/workshop will be “The Road, The Path, The Way Not Taken: Writing What If”. Contact: Pauline Duncan-Thrasher, Community-Library Liaison, email@example.com. Free but you need to register:
Friday, May 6. Lester B. Pearson School for the Arts, 795 Trafalgar St, London, ON N5Z 1E6, (519) 452-8300. Sponsored by the League of Canadian Poets, National Youth Arts Week. Contact: Jennifer Chesnut, <firstname.lastname@example.org>.
Tuesday, May 24, 7 – 8:30 pm. Opening The Creative Aging Festival Showcase concert. Wolf Hall, 251 Dundas St. London ON. Contact: June Cole, email@example.com. https://www.facebook.com/CreativeAgeLondon/photos/a.181607875346967.1073741828.181474082027013/545731032267981/?type=3&theater
Friday, June 17, 7:45-9 am. The anthology, Women & Multimedia, edited by Penn Kemp, will be launched at the breakfast business meeting of the Feminist Caucus of the League of Canadian Poets. Contributors Di Brandt, Terry Carter, Penn Kemp, Moe Clark, Jude Neale, and Cathy Petch will present our work then. The 2016 Canadian Writers’ Summit, Harbourfront Centre, Toronto ON, 235 Queens Quay W, Toronto, ON M5J 2G8. http://poets.ca/feministcaucus/, http://www.canadianwriterssummit.com/english#/program/
Saturday, June 18, 4-5:30pm, 2016. Panel, “Women & Performance: Playwrights and Performance Poets”, with panelists from both Playwrights Guild Women’s Caucus and League Feminist Caucus members. Penn is panel coordinator and editor of the anthology to be launched at the same time. Sponsored by Playwrights Guild of Canada and the League of Canadian Poets. The 2016 Canadian Writers’ Summit, Harbourfront Centre, 235 Queens Quay W, Toronto, ON M5J 2G8, http://poets.ca/feministcaucus/, canadianwriterssummit.com.
Photo: Westminster Secondary School, London
March 12- August 21, 2016. Jim Kemp’s painting, “Three Figures with Tall Hats” is on exhibit in “Portals”. Kitchener-Waterloo Art Gallery. 101 Queen St N, Kitchener ON N2H 6P7. Curator: Edwin Outwater, Music Director. Contact: Ass’t Curator. 519-579-5860 x 230.
http://kwag.ca/en/connections/resources/kwag_newsletter_jan_apr_2016_web.pdf, p. 6