On Feb. 15, Canadian poet Rebecca Salazar visited the Canadian Writers in Person series at 91亚色 to read from and talk about her poetry collection sulphurtongue.
Rebecca Salazar鈥檚 poetry collection sulphurtongue contains over 10 years of poems through which the poet said that her younger self processed 鈥渉ow to be in good relation with the damaged world, how to be in good relation through the traumas of colonialism, racism, rape culture, cis-hetero-patriarchy. To speak honestly, the more I write and learn, the less I can really name these oppressions as separate entities.鈥
In sulphurtongue, Salazar ponders on what it means to be in good relation with the land, with Indigenous peoples, with other people, with everything in our environments. 鈥淥ne answer might be not to romanticize or to objectify or other,鈥 said Salazar. 鈥淚n my experience, this means not writing capital 鈥楴鈥 nature poetry, where nature is this sort of object we place outside ourselves and then strip-mine for metaphors.鈥
She says poetry is about 鈥渦nderstanding how violence done to one component of an ecosystem affects all the bodies within it. It鈥檚 about knowing how this mutuality applies to violence but also to care鈥 When I write poetry about the environment, I鈥檓 writing about how its many bodies and beings are entangled in my own body and vice versa.鈥
Salazar adds writing poetry is 鈥渉ow I connect with the ancestors I was displaced from by migrations and colonialism, it鈥檚 how I connect with the toxic and benevolent substances that shape my body and its pleasures. It鈥檚 how I connect with survivors of sexual, gendered, racialized and ableist violence, even when we鈥檙e sued into silence or otherwise prevented from reaching one another. When I write about the ecologies and bodies that I鈥檝e mentioned so far, I want the 鈥榖oth/and鈥: I want both the acknowledgement of ecological harm and racial harm, and the possibility of love within these. I want both the fight against racial and ecological injustice, and the fight to ensure conditions healing for.鈥
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