• Hi, I'm Erín Moure.

    It's about poetry. Falamos poesía. Je suis poète et traductrice et éditeure.

    Poet in English and English/Galician, translator of poetry—especially the syntactically strange or "difficult"— from Galician, French, Spanish, and Portuguese to English. Lives in Montreal and Kelowna, works everywhere. Allergic person, friend, lesboqueer, cyclist commuter, small footprint on earth, cook.

  • Books

    Poetry and hybrid poemical doings since 1979, up to 2018.

    Poetry

    Planetary Noise: Selected Poetry of Erín Moure, edited by Shannon Maguire. Wesleyan U Press, 2017. Reviewed in the New York Times, 3 November 2017.

    Kapusta. Toronto: Anansi, 2015.

    The Unmemntioable. Toronto: Anansi, 2012.

    Pillage Laud, Toronto: BookThug, 2011 & Moveable Type, 1999.

    O Resplandor. Toronto: Anansi, 2010.

    O Cadoiro. Toronto: Anansi, 2007.

    Little Theatres. Toronto: Anansi, 2005.

    O Cidadán. Toronto: Anansi, 2002.

    A Frame of the Book or The Frame of a Book. Toronto: Anansi, 1999.

    Search Procedures. Toronto: Anansi, 1996.

    The Green Word: Selected Poems 1973-1992. Toronto: Oxford, 1999.

    Sheepish Beauty, Civilian Love. Montréal: Véhicule Press, 1992.

    WSW (West South West). Montréal: Véhicule Press, 1989.

    Furious. Toronto: Anansi, 1988, reprinted 1992, 2006. Second Edition 2018 with introduction by Sonnet L'Abbé.

    Domestic Fuel. Toronto: Anansi, 1985.

    Wanted Alive. Toronto: Anansi, 1983.

    Empire, York Street. Toronto: Anansi, 1979.

     

    Poetry and Performance

    Moure, Erín and Oana Avasilichioaei. Expeditions of a Chimæra. Toronto: BookThug, 2009. 90 pp.

     

    Essay and Insurrection

    Insecession. In volume w. Chus Pato’s Secession. Toronto: BookThug, 2014. 100 pp.

    My Beloved Wager: Essays from a Writing Practice. The Writer as Critic, Vol. 11. Edmonton: NeWest Press, 2009. 352 pp.

     

    Passports for Further Travel

    O Cadoiro. Translated into German by Uljana Wolf. Berlin: roughbooks, 2016.

    Petits théâtres. Translated by Daniel Canty (French). Montreal: Noroît, 2013.

    Teatriños. Translated by María Reimóndez (Galician). Vigo: Galaxia, 2007.

     

    Memoir and History

    Sitting Shiva on Minto Avenue, by Toots. Vancouver: New Star Books, 2017. 102 pp.

    A Century in the North Peace: The Life and Times of Anne and John Callison. Montreal: Zat-So Productions, 2018.

  • Translations

    Poetry

    de Castro, Rosalía. New Leaves. Trans. from Galician of Follas Novas (1880). Sofia Bulgaria: Small Stations, 2016.

    Turcot, François. My Dinosaur. Trans. from French of Mon Dinosaure (2013). Toronto: BookThug, 2016.

    Pato, Chus. Flesh of Leviathan. Trans. from Galician of Carne de Leviathan (2013). SF: Omnidawn, 2016; introduction by Jen Hofer.

    de Castro, Rosalía. Galician Songs. Trans. from Galician of Cantares Gallegos (1872). A major work in 19th century Galician literature. Sofia, Bulgaria and Santiago de Compostela, Galicia: Small Stations and Xunta de Galicia, 2013.

    Dupré, Louise. Just Like Her. Hamilton: Wolsak & Wynn, 2011. Trans. from French of Tout comme elle

    Pato, Chus. Hordes of Writing. Exeter, UK: Shearsman / Ottawa: BuschekBooks, 2011. Trans. from Galician of Hordas de Escritura

    Pessoa, Fernando. Sheep’s Vigil by a Fervent Person. Toronto: Anansi, 2001, reprinted 2004, 2010. Trans. from Portuguese of O Guardador de Rebanhos

    Pato, Chus. m-Talá. Exeter: Shearsman /Ottawa: Buschek, 2009. Trans. Galician of m-Talá

    Ajens, Andrés. quase flanders, quase extramadura. Cambridge, UK: CCCP, 2001; Victoria: La Mano Izquierda, 2008. Trans. from Spanish of Más íntimas mistura (excerpt)

    Pato, Chus. Charenton. Exeter, UK: Shearsman / Ottawa: BuschekBooks, 2007. Trans. from Galician of Charenton

     

    Collaborative Translation, Poetry

    Gómez, Lupe. Pornography. Berlin: Frank & Timme, 2013. Trans. Erín Moure & Rebeca Lema from Galician of Pornografía. In Lupe Gómez: libre e estranxeira. Estudos e traducións. Ed. Burghard Baltrusch. Iberoromanic Studies in Literature & Translatology, Vol. 1.

    Brossard, Nicole. White Piano. Toronto: Coach House Books, 2013. Trans. Erín Moure and Robert Majzels from French of Piano blanc.

    Brossard, Nicole. Notebook of Roses and Civilization. Toronto: Coach House Books, 2007. Trans. Erín Moure and Robert Majzels from French Cahier des roses et de civilisation

    Brossard, Nicole. Museum of Bone and Water. Toronto: Anansi, 2003. Trans. Erín Moure and Robert Majzels from French of Musée de l’os et de l’eau

    Brossard, Nicole. Installations. Winnipeg: Muses’ Company, 2000. Trans. Erín Moure and Robert Majzels from French of Installations

     

    Translation, Fiction Non-Fiction and Hybrid

    Pato, Chus. At The Limit. Montreal: Zat-So Productions, 2018.

    Wilson Bueno. Paraguayan Sea. NY: Nightboat Books, 2017.

    Uxío Novoneyra. Of Stubborn Dreams: The Poetics of Uxío Novoneyra. Parada do Courel: Fundación Uxío Novoneyra, 2017.

    Lopo, Antón. Distance of the Wolf: Biography of Uxío Novoneyra. Parada do Courel: Fundación Uxío Novoneyra, 2017.

    Pato, Chus. Secession. Trto: BookThug, 2014. Trans. Erín Moure from Galician of Secesión

    Nogueira, María Xesús; Lojo, Laura: Palacios, Manuela, eds. Creation, Publishing, and Criticsm: The Advance of Women’s Writing. NY: Peter Lang, 2010. Trans. Erín Moure (Galician chapters). Galician and Irish Studies series, Vol 2, General Editor Kathleen March.

  • Watch, Read, Listen

    Various amusements from the internet, visual and aural....

              Ñ

    The original of one of the poems from Kapusta, first written and designed for web publication at the magazine Trickhouse.

    Monique Mounblow's version of the potato poem in Little Theatres, a poem about peace that on Vimeo, inexplicably, bears a "Mature" warning! Because it's polylingual?

    Three translations from Wilson Bueno's Paraguayan Sea.

    Three snippets from my English (Frenglish w. Guaraní) translation of this Brazilian writer's famed book Mar Paraguayo, which was written in Portunhol with Guaraní.

     

    The book will appear in fall 2017 from Nightboat Books in my version in Frenglish, with Andrés Ajens' postface from the Argentinian edition, an article by Christian Kent, and an interview with Bueno conducted by Claudio Daniel.

    Here is our reading on YouTube!

    Chus Pato's first visit to the USA brought her in September 2015 to Harvard University! We read from and talked about Secession and Insecession—biopoetics, translational biopoetics, trans-Atlantic hubbubs and proximities in the Woodberry Poetry Room . In spring 2017, we read together in March at Ottawa's VerseFest, and in Montreal at Drawn & Quarterly Books, and Toronto at knife/fork/book!

    Klara du Plessis reviews Planetary Noise!

    Planetary Noise: Selected Poetry of Erín Moure gathers four decades of poetry from a poet and translator who has persistently reconfigured the linguistic and material relations of English. Moure’s poems and networked sequences are hybrid and often polylingual; they work with contradiction, paradox, and verbal detritus— linguistic hics and blips often too quickly dismissed as noise—to create new conditions for thought and pleasure. From postdramatic theatre to queer and feminist theory, from the politics of citizenship and genocide to the minutiae of digital poetics, from the clamor of love to the shadows of grief and memory, Moure has joyously toppled hierarchies of meaning and parasited dominant discourses to create poetry that crosses borders, embracing hope, not war. This volume, edited by poet and literary scholar Shannon Maguire, also features an extensive introduction to Moure’s poetry, a section of poetry by others translated by Moure, and an afterword on translation by the poet.

    Interview with Chus Pato from Transtierros , English version

    “We are born as foreigners to all languages.” An interview with Chus Pato by Italo-Peruvian poet Maurizio Medo, 8 October 2017

    translated from Spanish (Castilian) into English by Erín Moure

     

    MM: Chus, writings like yours that are constructed at the limits of the “poem” in another space “yet to appear,” are usually seen by traditional critics as something experimental (and thus the critics are often thin when it comes to analysis); can writing as an exercise exist outside of experimentation?

    CP: The way I see it, the limits are the poem itself, in the sense that it is a figure, something delimited. Perhaps the space that is “yet to appear” is that space which is without limit, without figure, without attributes, the unlimited, that which is, in the sense of being, but which cannot be read, nor heard, as it has no letters or articulated sound. Perhaps it is “this” to which the poem tries to draw close; thus, the poem might be seen as something like a drop of blood, something finite, that enters or tries to get close to what is, so that we’d find ourselves before a sublime, before poetry, perhaps, facing something that lives both inside and outside of the poem, both prior and posterior to it, that precedes and follows the poem. Before life? Perhaps, or before mimesis.

    Writing a poem is always an experience, an experience of language, I don’t see how a poem can be written without having that experience (brief as it is). Another question is the relationship of the poem written today with the historic avant-gardes.

    You noted in an interview in 2013 with Hasier Larretxea[1] that the contemporary “is never current” and that this imperceptible deferral is what makes thinking possible, and urgent. Does this not convert the “poem” (between quotation marks) into a space outside the literary?

    We’d have to know what we mean by the literary and this is something very complex. If, by Literature, we mean all that which is written, from graffiti or love letters right to science and philosophy, the poem would be in Literature. If we understand Literature as a conjunction of books that function as merchandise, my answer is that the poem, like graffiti, is not inside this set.

    You write with Galician as language of origin; do you consider that this biographical fact has influenced the form in which you “view” and “interpret” Castilian Spanish? Does being “imprisoned” in a language not constitute a restriction, or when we write do we not, axiologically, become foreigners in front of all languages?

    It isn’t a question between languages, between “Galician/Castilian”; the problem is political, a question of linguistic politics and of politics in general. I freely decide to write in Galician; Castilian is not a determining factor in my writing. On the contrary, it’s a language I can speak and read; it’s a source of riches. The question, and I repeat, is not the Castilian language; it is a political problem.

    Certainly, the linguistic standard is a prison; the limiting of our capacity to speak and write and to communicate with each other by holding us to instrumental language enslaves us. To my mind, the poem does not exist if it is not capable of breaking those chains.

    I believe we are born as foreigners to every language; we are born without speech, after all. We have to learn to speak and this is very fortunate because, among other things, it is what allows us to to be able to speak in the face the axiology of languages as machines of oppression.

    If this is so, then each “writing"” could be constituted as the founding of a language?

    I wouldn’t speak of foundation; I’d say that each person who tries to write poems has to construct a new saying, a new writing, has to be able to write just as did those who preceded her but has to try to do it out of another language, the one that he or she manages to attain.

    ¿Wouldn’t this make concepts like the “poetic” relative?

    I don’t believe so; I believe that this is exactly what is poetic, this capacity to divert usage and bring it toward something that celebrates our freedom in language and in writing.

    Something that Latin-Americans and the Spanish always note when we speak with each other is how little we read each other, although I believe this is starting to change.

    If this happens to those who write in the same language, and I believe it is so, you can just imagine how it is for those who write in the other languages of the Spanish state! This said, there are signs that we are reading more of other writers in Spanish, and this change has come through the hands of the South American poets who live on the Iberian peninsula, in both Spain and Portugal and is, clearly, also the result of the existence of the flows of electronic communication.

    Have you ever happened to notice that your writing seems closer to ours, to that of the South Americans, than to that of your fellow citizens?

    Ha! Of course; in fact I’m often asked if I’m Spanish, and I answer that I’m Galician. Not just South Americans, but North Americans also have noted this difference. I am who I am, as a person and as someone who aspires to be a poet, thanks in great part to my three emigrant grandparents (Cuba and Argentina); I have always thought that I write and exist for a new world.

     

    [1] This interview appeared in the vanished Koult (www.koult.es) on April 23, 2013. Its title was a quote from Pato: “Lo contemporáneo vive en las fronteras” [“What’s contemporary lives at the borders.”]. Republished at www.vallejoandcompany.com/a-menudo-no-comprendemos-un-poema-eso-dice-la-gente-la-poesia-no-se-entiende-ni-el-arte-entrevista-a-chus-pato/
  • Soooooon!

    November 2017 welcomed a tiny memoir, Sitting Shiva on Minto Avenue, by Toots, from New Star Books in Vancouver, available from SPD, our featured seller, here! The Montreal Review of Books had this to say about it!

     

    Just out from Zat-So Productions––a regional history book of the North Peace in Canada, written for my 96 year old aunt Anne Callison, whose voice is now nearly silenced by aphasia following a stroke. It is her settler story, one I would not myself have chosen to write (enough settler stories, already!), but I grew up on her moosemeat and was called to help. It does try to nudge the genre of settler family and regional history into the present: there are chapters and references to the history of the peoples displaced from the land by Treaty 8, insistences on their absolute modernity (and to protect the land we need their worldview to lead us now), and links to their voices and telling. As well, it is a history of the first newcomers through the story of this one family. Books can be ordered here!

     

    Chus Pato's At The Limit, translated into English, now available!

     

    Lupe Gómez's amazing Camouflage will come out from Circumference Books in February 2019!

     

    My own The Elements... out in April 2019, now has a webpage at Anansi!

     

    And yes, as you see, Zat-So Productions is gradually expanding its mandate. Books it publishes are produced and designed — and translated, when translations — with donated labour and any proceeds are shared 50-50 with the author. Please support this wee initiative and be part of the conversation! (Zat-So's motto, I think, is "Flies In The Face of Reason")...

     

    Thank you everyone, obrigada y merci, for your interest and support!

     

    Erín Moure's Kapusta

    a poem-play-cabaret-ash

    from House of Anansi, Toronto.

    with songs by Malenka Dotchka

     

    read the review in The Puritan here. 

    and in Arc Poetry Magazine here.

     

    Michael Kelleher Interviews Chus Pato at Music and Literature!

    Here's what the Poetry Foundation says about this intriguing exchange

    In the overly hot and smoky summer of 2019, I translated Michael Kelleher's English into Galician and Chus Pato's Galician into English, question by question and this is the conversation that slowly and thoughtfully emerged! There's a full link at the Poetry Foundation... and the interview is also available in Galician!

    On the still unwritten book that will be known as Theophylline

    Looking forward to getting back to writing this lesboqueer project. It has to do with lyric, with asthma, and with absence from the archive. In the meantime, there exists this essay, available only in spoken form! Thanks fervently to the Woodberry Poetry Room!

  • Working away on...

     

    UPCOMING:

    -a book of poetry for my Dad, The Elements, to appear in 2019 from House of Anansi, who have published my poetry in Canada since 1979.

    -a translation of Galician poet Lupe Gómez's amazing Camouflage, winner of the 2018 Spanish Critics' Prize for poetry in Galician, upcoming in February 2019 from Circumference Books!

    -a translation with the amazing Roman Ivashkiv of a book of poetry from the Ukrainian of Yuri Izdryk, Smokes, to appear spring 2019 from Lost Horse Press in Idaho!

     

    IN PROCESS:

    -a translation of Uxío Novoneyra's Os Eidos from Galician, as The Uplands.

    -a translation of Chus Pato's Un libre favor from Galician.

    -a play-room-cicatrice called Martín!

    -a mixed genre book of poetry exploring breath, called Theophylline, conceived in April 2017 in the Woodberry Poetry Room at Harvard University where I was Creative Fellow 2017, listening to audio archives of Elizabeth Bishop and Muriel Rukeyser and imagining the silent archive of Angelina Grimké.

    - a translation from French of Chantal Neveu's La vie radieuse, tentatively called The Radiance of Life, upcoming in fall 2020 or spring 2021, publisher to be announced soon!

    -a book of aleatory poems called Hosannah.

    -a book of memoirs/stories called A Rose in Dreamland.

     

    TRANSLATIONS AND MADNESS SEEKING PUBLISHERS:

    - a reissue of Andrés Ajens's quasi Flanders, quasi Estramadura from Spanish.

    - Robert Majzels's form-busting political mayhem known as Kharmalov's Ankle.

     

  • Find Erín.

    Just go to www.facebook.com/erin.moure.poet.translator and leave a message there, please!

    Author page

    on Facebook

    @erinmoure

    LinkedIn