Genre: Poetry

Poets Norman Dubie and Liz Howard have won the 2016 Griffin Poetry Prizes, given annually for books of poetry published in or translated into English in the previous year. They each received $65,000 Canadian (approximately $50,000). Alice Oswald, Tracy K. Smith, and Adam Sol judged.

Poet Norman Dubie won the International Prize for his collection The Quotations of Bone (Copper Canyon Press). Dubie, 71, has published twenty-nine poetry collections and teaches at Arizona State University in Tempe. “The poems in Dubie’s newest collection are deeply oneiric, governed by vigorous leaping energy that brings the intimate into contact with history, and blurs the distinction between what is real because it once happened, and what is real because of the emphatic manner in which it has been felt,” wrote the judges in their citation.

Liz Howard took home the Canadian Prize for her debut collection, Infinite Citizen of the Shaking Tent (McClelland & Stewart). “These poems are filled with energy and magic, suspended between competing inheritances, at home in their hyper-modern hybridity,” said the judges. “Infinite Citizen of the Shaking Tent confronts its legacies with vivid imagery and crackling language, and introduces us to a bold, original poetic voice.”

The finalists for the International Prize were Joy Harjo for Conflict Resolution for Holy Beings (Norton), Don Paterson for 40 Sonnets (Faber & Faber), and Rowan Ricardo Phillips for Heaven (Farrar, Straus and Giroux). The finalists for the Canadian Prize were Per Brask and Patrick Friesen for their translation from the Danish of Ulrikka S. Gernes’s Frayed Opus for Strings & Wind Instruments (Brick Books) and Soraya Peerbaye for Tell: poems for a girlhood (Pedlar Press). Each finalist received a $10,000 honorarium for participating in the Griffin Prize shortlist reading on Wednesday in Toronto.

Established in 2000, the Griffin Poetry Prize was founded to “serve and encourage excellence in poetry.” Each year the trustees—Mark Doty, Carolyn Forché, Michael Ondaatje, Robin Robertson, Karen Solie, and David Young—along with Scott Griffin, the founder of the prize, select the judges. This year’s judges read 633 poetry collections from 43 countries.

Previous winners of the International Prize include Michael Longley, Brenda Hillman, Fady Joudah for his translation of Ghassan Zaqtan, and David Harsent. Recent winners of the Canadian Prize include Jane Munro, Anne Carson, David McFadden, and Ken Babstock.

Publishers may submit titles for the 2017 prize. The deadline for books published between January 1 and June 30 is June 30; the deadline for books published from July 1 to December 31 is December 31.

Photos: Dubie (Matt Valentine), Howard (Ralph Kolewe)

Janine Joseph is the author of Driving Without a License (Alice James Books, 2016) and winner of the 2014 Kundiman Poetry Prize. Her poems and essays have appeared in Kenyon Review Online, Best New Poets, Best American Experimental Writing, Zócalo Public Square, the Academy of American Poets’ Poem-a-Day series, and elsewhere. Her commissioned libretti for the Houston Grand Opera/HGOco include What Wings They Were: The Case of Emeline, On This Muddy Water: Voices From the Houston Ship Channel, and From My Mother's Mother. Joseph serves as vice president of the Writers@Work executive board and is an assistant professor of Creative Writing at Oklahoma State University. She blogs about her P&W–supported reading for the Poesía Peligrosa series at the University of California in Riverside.

A 2009 Paul and Daisy Soros Fellow, I was invited late last year to “take over” their Instagram account for a whole week so that followers could meet me and get a sense of my "New American" story. Over the Thanksgiving holiday, I shared pictures and brief stories about my family’s immigrant beagles, my Lolo Lazarus, and what it was like to live, for the first time, in a landlocked state. As the publication of my debut collection of poetry, Driving Without a License, was (then) just a few months away, I talked also about my experiences as a formerly undocumented American. Through luck or happenstance, a student and the vice president of PODER (Providing Opportunities, Dreams, and Education in Riverside) at my alma mater, University of California in Riverside (UCR), saw my posts and asked if I might be interested in doing a reading for a specially themed Poesía Peligrosa event during their upcoming Immigrant Awareness Week.

I graduated from UCR in the spring of 2005—three years before PODER, which “seeks to provide assistance to undocumented students through mentorship, financial assistance, and community building,” was established, so this invitation and event was an emotional homecoming for me. In short, the partnerships between PODER, Teatro Quinto Sol, and the office of Chicano Student Programs at UCR, coupled with the generous monetary support from Poets & Writers, made it possible for an undocumented student group to bring me in to read about my experiences as an undocumented person. To add to the significance of this event even further: It brought me back to the very school where I had studied creative writing as an undocumented student.

And what a gift the occasion was. Poesía Peligrosa, which was hosted by two current UCR undergraduates, brought together a mix of music, theater, and poetry to the stage. The night began with an interactive performance by UCR's Theater of the Oppressed, followed by my reading from Driving Without a License, and ended with students sharing their own immigration-themed work. The audience, which consisted of current UCR students, alumni, UCR staff, and family members, was lively, attentive, and welcoming. There were also students and their chaperones from a local high school in attendance. Later, I looked around the room from where I sat in the back and imagined that this would have been my community nearly a decade ago, had the organization existed. I was overjoyed and relieved to know that current students had the support and space I had once longed for.

It is my hope that this event sets a personal precedence, particularly in how I plan readings in support of the book, and that I will be able to give back to other undocumented student groups around the country. It is my hope, too, that the students who I had the great privilege of meeting continue to share their stories and continue to complicate our ever-expanding American identities. I am thankful to Poets & Writers for supporting this effort, these events, and writers with immigrant backgrounds like ours.

Photo: Janine Joseph. Photo credit: Jaclyn Heward.

Major support for Readings & Workshops in California is provided by the James Irvine Foundation and the Hearst Foundations. Additional support comes from the Friends of Poets & Writers.

"Children begin by loving their parents; as they grow older they judge them; sometimes they forgive them," writes Oscar Wilde in his 1891 novel, The Picture of Dorian Gray. Drawing upon your own experiences with parents, guardians, mother or father figures—or your personal history as a parent yourself—compile a short list of specific memories and observations divided into three categories: love, judgment, and forgiveness. Would you agree with Wilde that children's love for and judgment of parents are inevitable, but forgiveness of them may be less so? How might you see forgiveness as a more conscious component of a parent-child relationship? Write a three-part poem that explores the many nuances of a parent-child relationship as it evolves with age.