Poetry. These are poems of critical thought that have been influenced by old fiddle tunes. These are essays that are not out to persuade so much as ruminate, invite, accrue. Hall is a surruralist (rural and surreal), and a terroir-ist (township-specific regionalist). He offers memories of, and homages to—Margaret Laurence, Bronwen Wallace, Libby Scheier, and Daniel Jones, among others. He writes of the embarrassing process of becoming a poet, and of his push-pull relationship with the whole concept of home. His notorious 2004 chapbook essay "The Bad Sequence" is also included here, for a wider readership, at last. It has been revised. (Its teeth have been sharpened.) In this book, the line is the unit of composition; the reading is wide; the perspective personal: each take a give, and logic a drawback. In Fred Wah's phrase, what is offered here is "the music at the heart of thinking."

Author City: PERTH, ON CAN

Phil Hall's first small book, Eighteen Poems, was published by Cyanamid, the Canadian mining company, in Mexico City, in 1973. Among his many titles are: Old Enemy Juice (1988), The Unsaid (1992), and Hearthedral—A Folk-Hermetic (1996). In the early 80s, Phil was a member of the Vancouver Industrial Writers' Union, and also a member of the Vancouver Men Against Rape Collective. He has taught writing at York University, Ryerson Polytechnical University, Seneca College, George Brown College, and elsewhere. He has been poet-in-residence at Sage Hill Writing Experience (Saskatchewan), The Pierre Berton House (Dawson City, Yukon), and elsewhere. In 2007, BookThug published Phil's long poem WHITE PORCUPINE. Also in 2007, he and his wife, Ann, walked the Camino de Santiago de Compostela. His most recent books of poems are The Little Seamstress (2010) and KILLDEER (2011). He is a member of the Writers' Union of Canada, and lives near Perth, Ontario.