{"id":612,"date":"2021-09-06T21:47:42","date_gmt":"2021-09-07T04:47:42","guid":{"rendered":"http:\/\/portalmagazine.ca\/gustafson\/?page_id=612"},"modified":"2024-10-02T08:30:28","modified_gmt":"2024-10-02T15:30:28","slug":"gary-geddes","status":"publish","type":"page","link":"https:\/\/portalmagazine.ca\/gustafson\/poets\/gary-geddes\/","title":{"rendered":"Gary Geddes"},"content":{"rendered":"\n
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Bearing Witness<\/p>\n\n\n

Gary Geddes<\/h1>\n\n\n
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In 1987, Gary Geddes interviewed victims of Chile\u2019s 1973 coup, championing poetry\u2019s power to name and to heal in \u201cBearing Witness.\u201d After two decades of testimonies in West Bank and Gaza, sub-Saharan Africa, and at Canada\u2019s TRC hearings, he wrote a companion essay in 2012, \u201cThe Blind Witness,\u201d that reconsiders the nature of literary witnessing. <\/p>\n\n\n\n

\u201cDrop the \u2018e\u2019 in \u2018bearing,\u2019\u201d he says, \u201cand you have baring witness, laying bare the limitations and strengths … focusing on telling narratives through which we give imaginative shape to our own history and the history of those who trust and share their experiences with us.\u201d<\/p>\n\n\n\n

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Bearing Witness<\/strong><\/p>\n\n\n\n

Gary Geddes<\/p>\n\n\n\n

$20.00<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Arbutus Editions, 2016
48 pages, 4 \u00bd x 7 inches
ISBN: 978-1-928172-09-3<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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\u201cWhat does it mean to be a witness, first- or second-hand? It\u2019s often said that students witnessing a staged assault in a classroom each report the event differently. Some claim to have heard two or more shots when there was only one; most disagree on the appearance, gender, age, hair colour, and clothing of the accused, and especially the words exchanged between the person acting as perpetrator and the intended victim or victims.<\/p>\n\n\n\n

Clearly, our senses cannot always be relied upon. Memory is known, at worst, to fail, at best to be unreliable, whole chunks of it vanishing over time, the rest distorted for a variety of reasons, both medical and psychological. If you do remember with a degree of accuracy, what good is that when language itself is an unreliable vehicle, a transforming medium? Putting memories, feelings, or impressions into words is like passing white light through a prism; all is transformed by the very nature of the medium. If the reliability of a witness is questionable, what can be said about the words of someone who has neither seen nor experienced the events in question?<\/p>\n\n\n\n

Is the notion of being a witness nothing more than a supporting illusion? I get things wrong\u2014dates, dimensions, participants, degree, tone, and so much else. I have ideological blinkers, biases, and shortcomings that colour or distort what I see and how it will be rendered. I have limited imagination and language skills that add to my inability to grasp or comprehend an event from all sides. Given these shocking confessions, in what sense can I be considered, never mind trusted, as a witness?\u201d<\/p>\n\u2014Gary Geddes<\/cite><\/blockquote>\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Gary Geddes<\/strong>\u00a0has a PhD from the University of Toronto, has taught at Concordia, Western Washington, and Victoria universities as well as the British Columbia Institute of Technology, and has been writer-in-residence at the University of British Columbia and the Vancouver Public Library. He has written and edited more than 45 books of poetry, fiction, drama, non-fiction, criticism, translation, and anthologies and won a dozen national and international literary awards including the Commonwealth Poetry Prize (Americas Region), the Lieutenant Governor\u2019s Award for Literary Excellence, and the Gabriela Mistral Prize.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

Read an interview with Gary Geddes<\/strong><\/mark><\/a> in Portal <\/em>2001.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Poetry<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

Poems<\/em> (1971)
Rivers Inlet<\/em> (1972)
Snakeroot<\/em> (1973)
Letter of the Master of Horse<\/em> (1973)
War & other measures<\/em> (1976)
The Acid Test<\/em> (1980)
The Terracotta Army<\/em> (1984)
Changes of State<\/em> (1986)
Hong Kong<\/em> (1987)
No Easy Exit<\/em> (1989)
Light of Burning Towers<\/em> (1990)
Girl by the Water<\/em> (1994)
The Perfect Cold Warrior<\/em> (1995)
Active Trading<\/em> (1996)
Flying Blind<\/em> (1998)
Skaldance<\/em> (2004)
Falsework<\/em> (2007)
Swimming Ginger<\/em> (2010)
What Does A House Want?<\/em> (2014)
The Resumption of Play<\/em> (2016) <\/p>\n\n\n\n

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Geddes\u2019s <\/strong>non-fiction<\/mark> includes Conrad’s Later Novels<\/em> (1980), Letters from Managua<\/em> (1990), Sailing Home<\/em>\u00a0(2001), Kingdom of Ten Thousand Things<\/em>\u00a0(2005), Out of the Ordinary<\/em> (2009), Drink the Bitter Root<\/em>\u00a0(2010), and Medicine Unbundled<\/em>\u00a0(2017). <\/p>\n\n\n\n

In addition to the indispensable 20th-Century Poetry & Poetics <\/em>and four editions of 15 Canadian Poets Times 3,<\/em> his editorial work includes 70 Canadian Poets<\/em>\u00a0(2014), Skookum Wawa<\/em> (1975), Divided We Stand<\/em>\u00a0(1977), The Inner Ear<\/em>\u00a0(1983), Chinada: Memoirs of the Gang of Seven<\/em>\u00a0(1983), Vancouver: Soul of A City<\/em>\u00a0(1986), Compa\u00f1eros<\/em>\u00a0(1990), and The Art of Short Fiction<\/em> (1992).<\/p>\n\n\n\n

He has written one short story collection, The Unsettling of the West<\/em>\u00a0(1986), and one drama, Les Maudits Anglais<\/em>\u00a0(1984). <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Poetry<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

Poems<\/em> (1971)
Rivers Inlet<\/em> (1972)
Snakeroot<\/em> (1973)
Letter of the Master of Horse<\/em> (1973)
War & other measures<\/em> (1976)
The Acid Test<\/em> (1980)
The Terracotta Army<\/em> (1984)
Changes of State<\/em> (1986)
Hong Kong<\/em> (1987)
No Easy Exit<\/em> (1989)
Light of Burning Towers<\/em> (1990)
Girl by the Water<\/em> (1994)
The Perfect Cold Warrior<\/em> (1995)
Active Trading<\/em> (1996)
Flying Blind<\/em> (1998)
Skaldance<\/em> (2004)
Falsework<\/em> (2007)
Swimming Ginger<\/em> (2010)
What Does A House Want?<\/em> (2014)
The Resumption of Play<\/em> (2016) <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Geddes\u2019s <\/strong>non-fiction<\/mark> includes Conrad’s Later Novels<\/em> (1980), Letters from Managua<\/em> (1990), Sailing Home<\/em>\u00a0(2001), Kingdom of Ten Thousand Things<\/em>\u00a0(2005), Out of the Ordinary<\/em> (2009), Drink the Bitter Root<\/em>\u00a0(2010), and Medicine Unbundled<\/em>\u00a0(2017). <\/p>\n\n\n\n

In addition to the indispensable 20th-Century Poetry & Poetics <\/em>and four editions of 15 Canadian Poets Times 3,<\/em> his editorial work includes 70 Canadian Poets<\/em>\u00a0(2014), Skookum Wawa<\/em> (1975), Divided We Stand<\/em>\u00a0(1977), The Inner Ear<\/em>\u00a0(1983), Chinada: Memoirs of the Gang of Seven<\/em>\u00a0(1983), Vancouver: Soul of A City<\/em>\u00a0(1986), Compa\u00f1eros<\/em>\u00a0(1990), and The Art of Short Fiction<\/em> (1992).<\/p>\n\n\n\n

He has written one short story collection, The Unsettling of the West<\/em>\u00a0(1986), and one drama, Les Maudits Anglais<\/em>\u00a0(1984). <\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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BEARING WITNESS<\/p>\n\n\n\n

Gary Geddes<\/p>\n\n\n\n

Is the notion of being a witness nothing more than a supporting illusion? I get things wrong\u2014dates, dimensions, participants, degree, tone, and so much else. I have ideological blinkers, biases, and shortcomings that colour or distort what I see and how it will be rendered. I have limited imagination and language skills that add to my inability to grasp or comprehend an event from all sides. Given these shocking confessions, in what sense can I be considered, never mind trusted, as a witness?\u201d<\/p>\n\n\n\n

\u201cDrop the \u2018e\u2019 in \u2018bearing,\u2019\u201d he says, \u201cand you have baring witness, laying bare the limitations and strengths … focusing on telling narratives through which we give imaginative shape to our own history and the history of those who trust and share their experiences with us.\u201d<\/p>\n<\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

\n
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Shop Now<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>
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Arbutus Editions, 2016
48 pages, 4 \u00bd x 7 inches
ISBN: 978-1-928172-09-3
$20.00<\/p>\n<\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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\u201cWhat does it mean to be a witness, first- or second-hand? It\u2019s often said that students witnessing a staged assault in a classroom each report the event differently. Some claim to have heard two or more shots when there was only one; most disagree on the appearance, gender, age, hair colour, and clothing of the accused, and especially the words exchanged between the person acting as perpetrator and the intended victim or victims.<\/p>\n\n\n\n

Clearly, our senses cannot always be relied upon. Memory is known, at worst, to fail, at best to be unreliable, whole chunks of it vanishing over time, the rest distorted for a variety of reasons, both medical and psychological. If you do remember with a degree of accuracy, what good is that when language itself is an unreliable vehicle, a transforming medium? Putting memories, feelings, or impressions into words is like passing white light through a prism; all is transformed by the very nature of the medium. If the reliability of a witness is questionable, what can be said about the words of someone who has neither seen nor experienced the events in question?<\/p>\n\n\n\n

Is the notion of being a witness nothing more than a supporting illusion? I get things wrong\u2014dates, dimensions, participants, degree, tone, and so much else. I have ideological blinkers, biases, and shortcomings that colour or distort what I see and how it will be rendered. I have limited imagination and language skills that add to my inability to grasp or comprehend an event from all sides. Given these shocking confessions, in what sense can I be considered, never mind trusted, as a witness?\u201d<\/p>\n\u2014Gary Geddes<\/cite><\/blockquote>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Tom Wayman<\/strong> holds an MFA from the University of California and worked as a reporter for The Vancouver Sun. <\/em>He has been writer-in-residence at the universities of Windsor, Alberta, Winnipeg, Calgary, and Toronto as well as at SFU. His bibliography includes over twenty poetry collections, and he co-founded the Kootenay School of the Arts and the Vancouver Industrial Writers\u2019 Union. He has been the Fulbright Visiting Chair in Creative Writing at Arizona State University. He received the Acorn-Plantos Award in 2013 and the George Woodcock Lifetime Achievement Award in 2022, and he was named a Vancouver Literary Landmark in 2015.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

Read an interview with Tom Wayman<\/strong><\/mark><\/a> in Portal <\/em>2008.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Gary Geddes<\/strong>\u00a0has a PhD from the University of Toronto, has taught at Concordia, Western Washington, and Victoria universities as well as the British Columbia Institute of Technology, and has been writer-in-residence at the University of British Columbia and the Vancouver Public Library. He has written and edited more than 45 books of poetry, fiction, drama, non-fiction, criticism, translation, and anthologies and won a dozen national and international literary awards including the Commonwealth Poetry Prize (Americas Region), the Lieutenant Governor\u2019s Award for Literary Excellence, and the Gabriela Mistral Prize.<\/p>\n\n\n\n

Read an interview with Gary Geddes<\/strong><\/mark><\/a> in Portal <\/em>2001.<\/p>\n<\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Poetry<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

Poems<\/em> (1971)
Rivers Inlet<\/em> (1972)
Snakeroot<\/em> (1973)
Letter of the Master of Horse<\/em> (1973)
War & other measures<\/em> (1976)
The Acid Test<\/em> (1980)
The Terracotta Army<\/em> (1984)
Changes of State<\/em> (1986)
Hong Kong<\/em> (1987)
No Easy Exit<\/em> (1989)
Light of Burning Towers<\/em> (1990)
Girl by the Water<\/em> (1994)
The Perfect Cold Warrior<\/em> (1995)
Active Trading<\/em> (1996)
Flying Blind<\/em> (1998)
Skaldance<\/em> (2004)
Falsework<\/em> (2007)
Swimming Ginger<\/em> (2010)
What Does A House Want?<\/em> (2014)
The Resumption of Play<\/em> (2016) <\/p>\n\n\n\n

\n

Geddes\u2019s <\/strong>non-fiction<\/mark> includes Conrad’s Later Novels<\/em> (1980), Letters from Managua<\/em> (1990), Sailing Home<\/em>\u00a0(2001), Kingdom of Ten Thousand Things<\/em>\u00a0(2005), Out of the Ordinary<\/em> (2009), Drink the Bitter Root<\/em>\u00a0(2010), and Medicine Unbundled<\/em>\u00a0(2017). <\/p>\n\n\n\n

In addition to the indispensable 20th-Century Poetry & Poetics <\/em>and four editions of 15 Canadian Poets Times 3,<\/em> his editorial work includes 70 Canadian Poets<\/em>\u00a0(2014), Skookum Wawa<\/em> (1975), Divided We Stand<\/em>\u00a0(1977), The Inner Ear<\/em>\u00a0(1983), Chinada: Memoirs of the Gang of Seven<\/em>\u00a0(1983), Vancouver: Soul of A City<\/em>\u00a0(1986), Compa\u00f1eros<\/em>\u00a0(1990), and The Art of Short Fiction<\/em> (1992).<\/p>\n\n\n\n

He has written one short story collection, The Unsettling of the West<\/em>\u00a0(1986), and one drama, Les Maudits Anglais<\/em>\u00a0(1984). <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Read an interview with Gary Geddes in Portal 2001. Poetry Poems (1971)Rivers Inlet (1972)Snakeroot (1973)Letter of the Master of Horse (1973)War & other measures (1976)The Acid Test (1980)The Terracotta Army (1984)Changes of State (1986)Hong Kong (1987)No Easy Exit (1989)Light of Burning Towers (1990)Girl by the Water (1994)The Perfect Cold Warrior (1995)Active Trading (1996)Flying Blind (1998)Skaldance […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":667,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"wp-custom-template-poet","meta":{"_acf_changed":false,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-612","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nGary Geddes - Ralph Gustafson Distinguished Poets Series<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/portalmagazine.ca\/gustafson\/poets\/gary-geddes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gary Geddes - Ralph Gustafson Distinguished Poets Series\" \/>\n<meta property=\"og:description\" content=\"Read an interview with Gary Geddes in Portal 2001. 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