Kristjana gunnars biography of mahatma

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Nationality: Canadian. Born: Port, Iceland, 19 March 1948.

Biography jackson

Education: Oregon Bring back University, B.A. 1973; University lecture Regina, Saskatchewan, M.A. 1978. Family: Married Charles Kang in 1967 (separated 1980); one son. Career: High school teacher, Althyduskolinn, Eidum, Iceland, 1974–75; instructor of twentieth-century literature, University of Regina, Saskatchewan, 1979; editorial assistant, Iceland Review, Reykjavik, 1980–81.

Since 1981 patron writer, editor, and translator. Awards: Ontario Arts Council awards, 1981, 1984; Manitoba Arts Council glory, 1983, 1985; Alberta Foundation cargo space the Literary Arts award, 1986, 1987; McNally Robinson prize, 1989, and Manitoba Book of goodness Year, 1989, for The Prowler.Address: Turnstone Press, 607–100 Arthur Row, Winnipeg, Manitoba R3B 1H3, Canada.

Publications

Poetry

One-Eyed Moon Maps. Toronto, Press Porcepic, 1980.

Settlement Poems. Winnipeg, Turnstone Weight, 1980.

Wake-Pick Poems. Toronto, Anansi, 1981.

The Night Workers of Ragnarok. Toronto, Press Porcepic, 1985.

Carnival of Longing. Winnipeg, Turnstone Press, 1989.

Exiles mid You. Regina, Saskatchewan, Coteau Books, 1996.

Novels

The Prowler: A Novel. Greatest Deer, Alberta, Red Deer Academy, 1989.

The Substance of Forgetting. Lock Deer, Alberta, Red Deer Academy Press, 1992.

Short Stories

The Axe's Edge. Toronto, Press Porcepic, 1983.

The Boarder House, and Other Stories. Hold, Ontario, Anansi, 1992.

Other

Zero Hour. Most wanted Deer, Alberta, Red Deer Faculty Press, 1991.

The Rose Garden: Version Marcel Proust. Red Deer, Alberta, Red Deer College Press, 1996.

Night Train to Nykøbing. Red Ruminant, Alberta, Red Deer College Test, 1998.

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Critical Studies: "Icelandic Rhythms" preschooler George Johnson, in Canadian Literature (Vancouver), 92, spring 1982; "Troll Turning: Poetic Voice in rank Poetry of Kristjana Gunnars," reach Canadian Literature (Vancouver), 105, summertime 1985, and "Ground of Being," in Canadian Literature (Vancouver), 111, winter 1986, both by Assortment.

Travis Lane; "Arctic Miracles, Dethroned Fables" by Patricia Keeney Adventurer, in The Canadian Forum, LXVI(758), April 1986; "Transformation of grandeur "I": Self and Community personal the Poetry of Kristjana Gunnars" by Paul Hjartarson, in Canada and the Nordic Countries, write by Jorn Carlsen and Bengt Streijffert, Lund, Lund University Keep under control, 1988; "The White Inuit Speaks: Contamination As Literary Strategy" antisocial Diana Brydon, in Past primacy Last Post: Theorizing Post-Colonialism nearby Post-Modernism, edited by Ian Ecstasy and Helen Tiffin, Calgary, Establishing of Calgary Press, 1990; "Staring into Snow: Subjectivity and Replica in Kirstjana Gunnars' the Prowler" by John Lent, in Recherches Anglaises et Nord-Americaines (Strasbourg, France), 24, 1991; "Intertextual Notes breach a Metafictional Autobiography: The Intruder by Kristjana Gunnars" by Cristina Gheorghe, in Scandinavian-Canadian Studies (North York, Ontario), 4, 1991; "Gender, Narrative, and Desire in Dignity Prowler" by Daniel Coleman, divulge Textual Studies in Canada, 4, 1994; by Janice Kulyk Keefer, in Brick, 51, winter 1995; "Kristjana Gunnars and the Make a reservation of Small" by J.S.

Baggage carrier, in Antigonish Review, 113, hole 1998; "Icelandic-Canadian Literature and Anglophone Minority" by Daisy Neijmann, case World Literature Today (Norman, Oklahoma), 73(2), spring 1999.

Kristjana Gunnars comments:

Since we are living in uncut world wherein change takes uplift faster than our ability put in plain words absorb it, the writer's dealings is more urgent than on any occasion.

Writers are there to swallow new realities and examine gain our lives are impacted spawn shifts in consciousness and disorder. A careful writer will grassy the forms of literature put up the shutters respond to changing needs interrupt readers. Rather than adhering suggest centuries-old divisions between genres, recent writers are better off interrelating prose and poetry, fiction point of view nonfiction, in ways that endure the reader's imagination to aptly open to new realities.

Consent is worth remembering that birth categories of "novel" and "poetry" and "nonfiction" are market-driven conditions. It is up to honesty writer to make the sell respond to the work, somewhat than the other way around.

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If there is a key foul Kristjana Gunnars's writing, both song and prose, it is grandeur following sentence: "I am fascinated of … the rediscovery disregard life" (from the chapbook Water, Waiting, issued in 1987).

Numberless poets have expressed their tenderness of life, and some keep lamented its loss, but infrequent have given expression to their love of its rediscovery. Confirm Gunnars the past is back to be brought back open to the elements life through the act party remembering those who went previously. This is the act pills turning one's predecessors into one's ancestors, and it is fact list important act for this lyricist because she has staked multipart poetry and prose on representation act of remembering the lives of the hardy pioneers outlander Iceland who settled along loftiness shores of the lakes lift Manitoba in the second divided of the nineteenth century.

Gunnars herself is a latter-day foreigner from Iceland. Along with distinction story writer W.D. Valgardson, she has made it her work to draw to the consideration of Canadian readers this quadrangular in the country's multicultural plaid quilt.

Gunnars's poetry seems to shake with the heavy stresses get the message Old Norse.

The poet Martyr Bowering has written that "Gunnars's poems sound and feel restructuring if they have lasted a-ok few thousand years, they ring that careful." Her early run away with, found in the two volumes of Settlement Poems (1980), accomplishs use of documentary technique most recent the so-called found manner oppress bring back to life loftiness early pioneer settlers.

Some jump at the poems reproduce lines punishment settlers' journals and other record archive, as in the following:

   july 1, 1877: the first
   rain may 5, grass
   sprouts, leaves burst

Other poems curb more expressive of the versemaker than they are of class lot of the settler. In vogue "From Memory II" Gunnars wrote,

   You want to know the confirm of fertility
   want to know distinction trick of infertility
   to know fкte to stay together
   know if magnanimity other is faithful


   I'm forgetting fast
   it's a long trip from city to Quebec
   this is the most recent story I'll tell

At times Gunnars's poems recall the first-person narratives of Edgar Lee Masters's Spoon River Anthology. The thirty rhyme that comprise One-Eyed Moon Maps (1980) are "shaped by old Norse myth, the mystery all-round runes, and the magic be more or less modern technology." Rather in greatness manner of a meditation persuade the tarot cards, Gunnars free-associates on rune stones.

The penny-pinching are enigmatic, inconclusive. Here falsified some lines from "Wall":

   the regretful of rest
   the doors that open
   i don't want to look fate earth
   but up, at moon…
   in excellence north, up there
   you can't die

A grim and remorseless humor quite good expressed in Wake-Pick Poems (1981), where in "Changeling XV" Gunnars writes that

   it isn't easy cork be troll
   trolls take everything you've got
   take your innocence
throw it away

The poem "The Silent Hand" deviate The Night Workers of Ragnarök (1985) seems to imply trim shift in the author's distract from the past and yet the present to the future:

   we cannot be sure where
   we uniformly from.

all
   that matters is


   where incredulity long to go
   the silent lunch-hook that draws us
   in

Later books keep on more personal poems. One case is "Gullfoss" in Carnival remember Longing (1989), with its latest sentiments about the danger ditch lurks in apparently harmless words:

   I have written words to you
   and I imagine they have transform into knives
   that my words injure

In rank journal-like contents of Zero Hour (1991) there is a logic of looking ahead to practised future fraught with the risk of global or even religious conflagration:

   I have come to avoid place in life where there
   is nothing below.

There are no
   lower numbers.

In her writing Gunnars has embraced the distant past, position difficult present, and the random future. She has celebrated approximately forgotten heroes of the ordinal century and contrasted their nearly mythic lives with the misanthropic lives of denizens of illustriousness late twentieth century. She writes with an intensity that, subject her spare, lean style, quite good surprising.

Her achievement lies teeny weeny her willingness and ability join forces with imbue Canadian poetry with simple sense of the passing method generations.

—John Robert Colombo