A Newer Wilderness, poems, Insomniac Press, 2007
From the Publisher:
In Roseanne Carrara’s A Newer Wilderness, the world’s rich and compelling past buckles and swells beneath our feet, and its abiding influence rises like geothermal steam into the present.
Powerful voices from history and legend issue forth and mingle with our familiar, circadian surroundings. These poems serve to remind us that our future need not cost us our past, that our capacity for intellect need not diminish our basic humanity, and that civilizations need not be built at the expense of the natural environment in which they thrive.
Roseanne Carrara’s poetry has won the Malahat Long Poem Prize and has been nominated for a National Magazine Award among other honours.
Praise for A Newer Wilderness
“Roseanne Carrara’s poems in A Newer Wilderness actually say something about life today, and they say it in clear, generous, precise registrations. Carrara’s clean, sharp lines, at times extending into long poems and poetic essay, are a welcome breath of fresh air.” — Sharon Thesen, author of A Pair of Scissors and The Good Bacteria
Malcolm Woodland, The University of Toronto Quarterly 78:1, Winter 2009:
“Roseanne Carrara’s A Newer Wilderness is a very confident and polished collection, richly cultured and deeply intelligent throughout. Carrara has mastered a measured, beautifully cadenced, quasi-Jamesean syntax of hypotactic and parenthetical suspense. The reader is gently, almost lullingly guided through carefully, even elegantly interconnected webs of thought.”
Jacob Bachinger, Northern Poetry Review, Northern Poetry Review:
“…sundering is at the heart of A Newer Wilderness, where portents of the miraculous are always revealing themselves, and ‘a newer earth’ is always close at hand, albeit with a few ironic surprises. Although this is Roseanne Carrara’s first collection, she has raised the bar high.”
Chris Doda, Studio 1.2:
“Her interest in nature is often abstract and tied to the imprint of humankind upon it. In ‘Surveillance’…, consistent rustling in the brush prompts the speaker to predict a violent natural scene, that one of the ‘dogs, we imagined/was sure to emerge from the woods with a rabbit/or a squirrel, or some other prize, dangling, bloody/from its mouth’ only to realize that it’s just forestry surveyors. That something so innocuous should be the cause of trepidation subverts a convention of Canadian nature poetry and represents the dissolution of Frye’s garrison mentality.”
Completed Novel Manuscript
I have just completed the final draft of my novel, The Week in Radio. I am beginning the process of searching for an agent and a publisher:
It’s September 2006, and the Canadian Opera Company is opening Toronto’s new Four Seasons Centre for the Performing Arts with an ambitious production of Wagner’s Ring. After a stranger at the opera mistakes Cecilia Piercey for her late mother, she discovers he’s a thief. Tobias Marches has stolen an enigmatic box of photographs and papers which proves to be a shrine to Cecilia’s mother, Eleanor. Just as Cecilia and Tobias grow closer, the story they piece together threatens to tear them apart: in the late 1960’s, Eleanor was held against her will in the Marches’ family cottage.
Meanwhile, Cecilia’s father, long-time opera critic, Henry, chooses to experience the Ring at home by listening to CBC Radio’s live broadcast. His plan is to write about “four nights, four operas, and everything in between.” Only, the “everything” is far too personal. Recalling his late wife’s Wagner-mania and other peoples’ manias for her, Henry offers an alternative account of Eleanor’s brief captivity.
As the gods on the radio face extinction, the Pierceys and Marches come together to reconcile their versions of Eleanor’s traumatic experience. And, Cecilia and Tobias must decide if an act of violence, long past, will break the bond between them.
Told in a series of shifting narratives, The Week in Radio considers the power of the stories we tell about ourselves and those we hold dear. Multiple generations interact with a shared mythology, trying to negotiate the division between obsession and love.
Hitchcock’s Rear Window meets Groff’s Fates and Furies, with cameos by Die Walküre director Atom Egoyan and the cast of the 2006 Toronto Ring, The Week in Radio is a completed literary novel.
In the Works
I have just outlined a second novel, Finder.
This summer, in partnership with my daughter, Beatrice, I am completing a Young Adult Sci-Fi Fantasy trilogy. The working title of the first book is Tellurine: Deception.
I am also completing a second book of poems, Spectral Evidence.
And, with my husband, Blaise Moritz, I am translating Jacques Ellul’s book of poems, Silènces. [French to English]
Stay in Touch!
For questions, comments, or a proper literary CV, you can reach me via email at roseye [at] rogers [dot] com.