About Harold Rhenisch

www.haroldrhenisch.com

Reading at the Ryga Festival, 1 pm August 30, 2018

Today, I’m off to Summerland to share some words and thoughts at The Ryga Festival. 
Here’s how they put it:

Thursday, August 30

Harold Rhenisch

Time: 1:00pm – 2:30pm

Harold Rhenisch reads from his poetry and prose – and talks about his blog – okanaganokanogan.com

Poet, editor, blogger, Harold Rhenisch has written more than twenty books in different media. Born near Cawston, BC, he grew up working in the orchards of the Okanagan and Similkameen valleys, and has drawn lifelong inspiration from his native terroir.

In all his prolific writing, tireless blogs and breathtaking images, Rhenisch has been striving “to create an authentic literature for the silent rural parts of Canada, to place their images and dialects on an equal footing with those of the modern urban world.”

Harold Rhenisch was the 2007 recipient of the annual George Ryga Prize for Social Awareness.

Venue

SUMMERLAND LIBRARY

Event Type: Author Reading
Admission: Free

 

I have put together a slide show, to circle around my poem Saying the Names, and its roots in the land and the work of poets Al Purdy and Pat Lane. There is a story of many of us walking together. This festival is a celebration of the legacy of one of these joined voices, the playwright George Ryga…

George Ryga
Again, here’s how the festival puts the story:

About George Ryga

Writer & Playwright

George Ryga, considered by many as Canada’s most important English language playwright, lived in Summerland from 1963 until his death in 1987.

His prolific multifaceted writings includes stage plays, radio, TV and film scripts, novels, short stories and novellas, critical essays, travelogues, music and song lyrics, and poetry.

Most of Ryga’s creative output originated from his home in Summerland, including The Ecstasy of Rita Joe, which was published to critical acclaim in 1967 and remains the best-selling Canadian play of all time.

Born in 1932, Ryga was raised poor in the Ukrainian farming community near the town of Athabasca. Despite having to leave school at the age of 13, he soon won a scholarship to the prestigious Banff School of Fine Arts on the strength of one of his very first stories.

George Ryga first found national fame when CBC television produced his play Indian, and soon two of his novels were published in England. In 1963 he and his wife Norma brought their young family to Summerland, where they bought a small orchard on Caldwell Street. It was here that Ryga came to write his most famous works, including The Ecstasy of Rita Joe (1967), which awakened a nation celebrating its centennial to the continuing tragedy of its Indigenous Peoples. Two years later the play was revived to open the new National Arts Centre in Ottawa, an event attended by the prime minister and all ten provincial premiers. As the late great director John Juliani wrote, George Ryga should be remembered and celebrated for “bringing the contemporary age to the Canadian stage.”

I will be talking about one place where all of this comes together, the heart of the Plateau, Palouse Falls:

Since before its first occupation 8,000 years ago, this has been a living human space. We serve ourselves well to enter it. I hope to see you in Summerland!

Advertisements

Harold Rhenisch and Tania Willard at the Alternator Centre for the Arts, December 5

I hope you can come and take part in a discussion about the visual culture of the Okanagan. Tania Willard and I will be speaking at Kelowna’s Alternator Centre for the Arts from 6 to 8 p.m. on December 5, which is this Tuesday. Tania will be talking about her #Bush Gallery curatorial project and her work as a Secwepemc artist and curator. Expect to learn about this exciting work:

I will be speaking about the connection between eye and world in the valley, through a discussion about English as an Earth Language. I will work to set the concepts of Land, Landscape, Property and Place to the side and replace them with living terms. Expect to see images from Iceland, the Okanagan and across the Pacific Northwest, as I explore the words of my ancestors, including “Far”…

 

 

…”Head,” “Fell,” “Thick”, “Eye”, “Flow” “Self,”… class in Downtown Kelowna…

… and this guy’s Mexican woes.

I hope to see you there. There will be lots of time for you to speak as well. The event is organized by Katherine Pickering of the University of British Columbia Okanagan, and, yes, UBCO landscaping will form part of the show. See you there, eye to eye.

 

Saying the Names Shanty Makes the 2017 CBC Poetry Prize Short List

CBC Books has announced its shortlist for the 2017 CBC Poetry Prize. Look at us proudly standing in for our poems.

The Poets and the Poems

l to r: Cornelia Hoogland (Tourists Stroll a Victoria Waterway), Laboni Islam (Lunar Landing, 1966), Sarah Kabamba (Carry), Alessandra Naccarato (Postcards for My Sister), and Saying the Names Shanty (Harold Rhenisch).

I am proud that my poem Saying the Names Shanty is making its way across the country today as one of the five short-listed poems, and I am humbled that only five poets are representing the 33 poems of the long list, announced last week. That is a great responsibility.

The Full List

http://www.cbc.ca/books/literaryprizes/33-writers-make-the-cbc-poetry-prize-longlist-1.4389859.

Wouldn’t it be great if all 33 of us read our poems together and then opened the floor to a big open mic for the other 2400 entrants. It would take a full weekend, at least. Or a year-long tour. I’m all for it.

Closer to home, you can see that my writing workshop group here in Vernon is thrilled. And surprised!

And here is my poem swimming towards the Manhattan Project’s moth-balled plutonium reactors on its journey into the world…


…across the nx̌ʷɘntkʷitkʷ and on…

The nx̌ʷɘntkʷitkʷ (The Columbia River), or Who Needs the English Language Anyway!

By Columbiarivermap.png: Kmusser derivative work: Ivan25 (Columbiarivermap.png) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

https://upload.wikimedia.org/wikipedia/commons/d/d1/Columbia_River_Basin_map-sr.svg

Some of that water is the snow that falls on the valley that speaks, in part, through me as Saying the Names Shanty. The nx̌ʷɘntkʷitkʷ is one of the big rivers of the continent, with a massive pull, but it looks like the poem has good legs, so that’s good. As I mentioned last week, here, the poem is about saying the names for the social fields, rivers, grasslands and rivers in which I live, including the qawsitkw, below, that leads salmon through the reactor fields to Siberia and back home to the rattlesnakes and prickly pear cactus.

The Syilx Fishery at nʕaylintn.

The last unbroken salmon run on the Columbia and the source of renewal for the whole plateau.

The poem is one of many eyes of this story I have landed on. Here are some of its sisters, at Ktlil’x:

The sacred water at the heart of my country, with a rogue Russian Olive trying to blend in as only a date can.

There are more images here: https://okanaganokanogan.com/2012/04/16/sacred-waters-part-one/

You can find out more about syilx names for this country on the naming project, sqʷəlqʷltulaʔxʷ, or, roughly, Voices on the Land.

In the spirit of coming together, let’s sing a poem today and be brought to life by its voice, wherever it finds us, however we make ourselves open to it, in a shared giving of thanks that poems can still find us. I’m so proud that my poem is out there, giving thanks in a brighter voice than I can without it, and in your company, too. What a bonus! Thank you, from a Transparent apple tree and its dandelion-headed caretaker.

 

Saying the Name Shanty Nominated for 2017 CBC Poetry Prize

I am proud that my poem “Saying the Names Shanty” has been nominated to stand among 33 others in the long-list for the 2017 CBC Poetry Prize. You can read the full list of poems and their poets here: http://www.cbc.ca/books/literaryprizes/33-writers-make-the-cbc-poetry-prize-longlist-1.4389859. I am proud that my poem and I get to rub shoulders with such a fine group of visions, words and people.

The Poem Saying Harold’s Name

The poem begins like this:

It was Al who said it, to stick out the thumb’s knuckle and nail, crook’d,
to say with a gesture where you want to get along to

and see who is going there too, with her hands on the wheel’s leather
and the rubber taking the curves of the Crowsnest,

crossing the line from black tar’s unwinding ribbon
into the riddle of headlights weaving between Similkameen deer and Arcturus.

The Al mentioned is Canadian Poet and elder, Al Purdy, who has left us but whose poems and spirit still live. Here he is, just a month older than I am now.

 

Poetry Saying Al’s Name

One of Al’s poems, “Say the Names”, that inspired my poem is here: https://beta.theglobeandmail.com/arts/say-the-names-by-al-purdy/article4161335/?ref=http://www.theglobeandmail.com&

It begins wondrously, like this:

 

say the names say the names

and listen to yourself

an echo in the mountains

Tulameen Tulameen

say them like your soul

was listening and overhearing

and you dreamed you dreamed

you were a river

and you were a river

It is a beautiful challenge. I accepted it. After all, many of the rivers and names that Al says with such love are my home country in the mountains, including the nmɘlqaytkw (the Similkameen), here:

The nmɘlqaytkw at Nighthawk, looking to c̓up̓áq̓.

You can read another of my love poems for this river here, a prose poem with photos: https://okanaganokanogan.com/2012/04/23/earth-writing/

My poem “Saying the Names Shanty” is part of a book-length manuscript of songs for being at home in the west beyond the West, and especially in the grasslands between the mountains, and of following the road across the mountains and prairies to the east. To which, with respect and thanks for the syilx people, whose land, whose Nxʷɘlxʷɘltantɘt, this is, I add the Okanagan Nation declaration:

“We are the unconquered aboriginal people of this land, our mother; The creator has given us our mother, to enjoy, to manage and to protect; we, the first inhabitants, have lived with our mother from time immemorial; our Okanagan governments have allowed us to share equally in the resources of our mother; we have never given up our rights to our mother, our mother’s resources, our governments and our religion; we will survive and continue to govern our mother and her resources for the good of all for all time.” https://www.syilx.org/about-us/syilx-nation/okanagan-nation-declaration/

To all syilx people, yours are the names. Thank you for keeping them alive and for sharing them. Your act of sharing has given me life, and a chance to sing of love. The woman whose hands are on the wheel in the poem, is the poet Linda Rogers,


…source

who introduced me to Al’s poem “Say the Names” by reading it to me late at night in her kitchen in Victoria, with, if I remember correctly, a whoop of joy. I sure felt one, at any rate. Thanks, Linda. All of us, and the poet Pat Lane…

…whose poem “Similkameen Deer”, which begins with a road sign like this …

…Driving through the Similkameen valley

I watch for deer on the Road.

Miles roll out beneath me….

… probably below the screes and Mount Mazuma Ash at As’nola Mouth, where the waters of the Pasayten Wilderness and the Cascade Range meet between Hedley and Keremeos, began me on this journey four decades ago, have, among others, made this poem together, although the words came to it through me. Friends, poets, brothers, sisters, words and spirits, thank you. This moment is yours, a gift for you for the gifts you’ve given. Thank you, CBC, for the chance to share it.

You can find the CBC’s page on my poem here: http://www.cbc.ca/books/literaryprizes/saying-the-names-shanty-by-harold-rhenisch-1.4371756

Oh, yeah, and this:

Poetry Saying Its Name as Arcturus

Source

Why Poetry Matters

P1040373Well, for one thing, if we did our work ourselves instead of relying on virtual human slaves to do it for us, we would all look a lot less ridiculous. This urban scene (notice its lack of humans) is a landscape of slavery from one end to the other, with the exception of its deviations from order: the weeds on the right, and the sign that can’t resist irony. Poetry helps make these non-human, slave environments livable. And that’s just peek under the hood of my project Steam Punk City. More peeks here: https://www.witual.wordpress.com

Have fun in the city!

Ancestral Memory and Poetry

People write poetry for many reasons. Any that is written is not poetry, though, but an incantation that allows for poetry, a force within the universe, to appear. People cannot be taught to bring these appearances forth in the world, because people are not in conscious control of a process that is, ultimately, not human. People can, however, be led to moments in which the possibility of appearance is possible. The rest is up to purity of heart. Not very modern thinking, is it. No. Here’s a moment of possibility:

rivergallagherfish

That’s the Okanagan Nation fishery on the Okanagan River below a cliff that is an ancient story and which records the history of a war between the Syilx and Secwepemc people that ended with an agreement to share this land in the grasslands inland from the North East Pacific Shore. This is my home. Here is a cliff face in South Iceland. Geologists will point out, rightfully, that it is an ancient seashore cliff (that runs for a couple hundred kilometres) lifted away from the sea by tectonic forces. This image was taken from a point on the old seabed, for example. That kind of thing. It also has a stile and a beautiful woman who I love and who (I am blessed) loves me, walking through grass almost as tall as she is. This is a moment of my ancestral memory. It forms the foundation of my book The Art of Haying. It’s not, after all, a cliff. This is me. Iceland Day 3 to 5 065It is also, if you have eyes to see, a troll, with two gaping eyes, a pug nose, and a broad, frog-like mouth, with water spilling off the top of its head and forming a farmyard spring. You can see the farmyard rhubarb patch to the right of the image, just above the green lump, which is the ruins of an old turf house. What I’m doing here is showing you how an image of the earth is seen when ancestral memory and contemporary thought are one. I am not asking you to agree with this, disprove this, argue it, or abstract it in any way because it is incontrovertible. Still, if you’re used to setting this kind of material deep within a form of romantic consciousness called the unconscious, subconscious, memory, fantasy, imagery, emotion, creative imagination, or any of the modern terms that separate your identity from it, a bit of a guide might prove interesting. You’re seeing a few things. The troll, for instance. A large-green headed ram below the troll’s right eye. An ewe’s skull, teeth bared, below his chin. Another below that. A scatter of human heads, all formed of stone, on the ledge above the bottom section of the falls, and a baby troll peering out of the steeply-angled green hill just to the left and behind the stile. What’s more, the troll has one eye open and one closed. It is Oðin, the Norse cultural hero who plucked out one eye at the well at the centre of the world as payment for receiving wisdom. There is much more, plus a beautiful woman walking through it. The image, framed by the boundaries of the technology of the camera, is called art, because it brings these correspondences into relief, but, hopefully, I have pointed out successfully that these images and correspondences are in the world, exactly in the way that modern humans, such as you or I, are trained to read or parse poetry. On that foundation, let me point out that when a man is one with his mind and with the earth, he looks out at the earth and sees himself. What that means is that walking through this landscape, I am walking through my thoughts, which is, of course, exactly the process of writing a poem. There are a few things, though, which the poetry of the world is not: fantasy, for instance, emotional confession, too, literary dialogue, for another. It’s not a portrait of my feelings, an exploration of my thoughts, or the opening of a social dialogue. It is not an installation or a performance. It is not art. And yet it is poetry. This is poetry:

P1080198Ancestral Watcher at sx̌ʷəx̌ʷnitkʷ.

This is poetry:

P1140209

nm∋lqaytkw at Chopaka

This is my home mountain and my home river.

Look at it this way: on a foundation of geology, weather and biological evolution, on a field of societal evolution and history, on a journey of personal presence and breath, in a unified consciousness, this is an image of my self, which reveals itself to me as I walk through it. Some nut has built a concrete water diversion structure in it, which is the way of modern, non-unified consciousness, but make no mistake: it is inside me. I have to accommodate that. That’s where I live, in a space in which every breath, every thought, everything I see and walk through, is poetry, which is not, I feel I should stress, not something I make, something that can be studied in a university department of literature, taught in a department of creative writing, or something anyone else can make. This is not something I made. It is vital to remove the traditions of book thinking from images like this. Book thinking? Yes. If you see a landscape in the following image and if you see a narrative in it:…

buckHanford Reach

… it is book intelligence you are viewing it with. Behind that green flood bar, just to the right of this image, the plutonium for the Trinity Test and the Nagasaki bomb was manufactured, as well as most of the plutonium for the Cold War. Does that stag look like he is swimming home? He isn’t. He is home. So am I. This is my poetry. Anyone can find Facebook on their own, god help them. To find their ancestral, non-human intelligence, the thing that makes them human, a guide helps. Here’s mine:

17Robin Skelton

He was the earth, standing up and walking. He was the sea. And I? I am here to tend an ancient fire

P1000865I used to think that this fire could be kept burning in books, but that was before I realized that literature was a game of artifice and I was not speaking of artifice. I still passionately work with poetry, edit books of poetry, review them, write poetry, and walk through it daily, but I do so from the ancient context I hinted at above, because the work is to keep the world alive, all of it, or die. In my recent book of ghazals, Two Minds, the Sufic force of unified nature, the Sufic Green Man, Khdr, fills the body and mind emptied of self, the lost traveller or lover all-in-a-tangle, with the world, so that the world is there at the core of the soul’s movement through the world, not the technologically-created, abstract, book-based, Enlightenment self, as beautiful a piece of engineering as it is. We can be more.

twomindsWe are more.
monolithAncestors at Extreme Low Tide, Discovery Passage, Facing Cape Mudge …

… where their descendants live.

This is what I have learned during 58 years on this earth. It is not what I was taught. It is more. This is my standard for poetry. It must be alive. After all, I am a man of the earth. I am memory. I am the fire keeper.

Unlaunching The Okanagan, Tonight in Kelowna

Tonight, March 9, 2016, at 6:30 p.m. at the Laurel Packinghouse, at the corner of Cawston and Ellis in Kelowna, I will be helping to unlaunch the Okanagan. Read all about it here. I will talking about stories, such as this one at Dry Falls…

… and my heart, Palouse Falls, just north of the Snake River.

I will also be talking about the loons of Kokanee Bay, from my book Winging Home, or the Centre of the Universe, from my book Tom Thomson’s Shack. Time will tell. Why not come and find out?