Robert Bringhurst

Jan Zwicky

Two powerful writers draw upon philosophy to find a roadmap for grace and equanimity in the face of the death of our planet.

Wisdom in the Age of Climate Crisis

Learning to Die

This title is no longer available from Gaspereau Press. Please check with Brush Education Inc. "The shape of metaphorical thought is also the shape of wisdom," states Jan Zwicky in her introduction to Wisdom & Metaphor, "What a human mind must do in order to comprehend a metaphor is a version of what it must do in order to be wise." In this follow-up to her astonishingly original book Lyric Philosophy (1992), Zwicky sets out to explore the ways in which metaphorical thought links to wisdom: "Those who think metaphorically are enabled to think truly," suggests Zwicky, "because the shape of their thinking echoes the shape of the world." Zwicky's prose style is the very model of her thesis, echoing the measured, sure-spoken clarity of her poetry, guiding the reader through multiple layers of meaning in the right-hand/left-hand voice style that she employed so successfully in Lyric Philosophy. Wisdom & Metaphor is a stunning work that will engage a broad range of readers.

Wisdom & Metaphor

In the foreword to Wisdom & Metaphor, Jan Zwicky observes that “those who think metaphorically are enabled to think truly, because the shape of their thinking echoes the shape of the world.” Wisdom & Metaphor explores the ways we come to understand the world through analogical structures, and the relation of this form of knowing to conventional epistemology and ontology. Zwicky uses the nature of the book itself, with its facing pages, to create resonant structures of aphorism and quotation which allow the reader to experience the kind of thinking she describes. The author’s wide-ranging influences, coupled with an understated, largely spatial, style of discourse, make this a remarkably original approach to long-standing questions about meaning and language. It offers a unique and compelling argument for the fundamental importance of metaphor to philosophy.

“The purpose of this essay,” writes Jan Zwicky in her introduction, “is not to adumbrate a new theory about Plato, nor to develop a new approach. Plato is old; he is famous; my Greek is sketchy - there is nothing revelatory I am competent to say. And yet I wish to say something; in particular, I wish to say something about his dialogue Meno. Years ago, I became convinced that it was as close to a philosophical jewel as anything was likely to get. It sparkled; it had, I sensed, a kind of geometrical perfection that I couldn’t quite put my finger on. I turned to the commentators, and learned much. But I also learned that no one was quite as impressed with the dialogue as I. Many thought it significant, some thought it central, but none, it seemed, was convinced it was a work of philosophic art - a complex ecology of argumentation, a survey of Plato’s central views in very small compass, an exquisitely nuanced report of both his idealism and his despair. And like other works of art, provocative, ambiguous, tantalizing. The purpose of this essay, then, is simply that: to record my astonishment at the beauty of this made thing; to praise; to express my delight and wonder, and my gratitude; to attempt to clarify, for myself, what continues to perplex me, and perhaps must, now that there is no one who speaks Plato’s Greek as fluently as he.” Plato’s Meno begins with the question of whether virtue is teachable. Meno is an aristocrat, a visitor to Athens, and, as it turns out, not a quick study. Zwicky examines the dialogue in terms of the progression of an argument, and as a dramatic work. For as a philosophical exercise the Meno dialogue has often been thought to be entirely inconclusive. Taking under consideration the dialogue’s dramatic elements, the asides, the dynamic between Meno and Socrates, and Socrates’ rhetorical technique as he leads the discussion from virtue to innate knowledge and learned knowledge, we are encouraged to read for the insight it can provide into Plato’s presentation of Socrates and into argument as art. Translating key turning points in the dialogue into contemporary language with corresponding stage directions, Zwicky draws out some of what makes the philosophy tick when we approach it as drama, exposing some of the seams of Socrates’ rhetorical technique. By stepping outside of what goes on in the dialogue and asking also why it goes on, we approach a wider plane of possible meaning.

Plato As Artist

Poetry. Winner of the 1999 Governor General's Award for Poetry and shortlisted for the 1999 Pat Lowther Award and the 1999 Dorothy Livesay Award for Poetry (BC Book Prize). SONGS FOR RELINQUISHING THE EARTH contains many poems of praise and grief for the imperiled earth drawing frequently on Jan Zwicky's experience as a musician and philosopher and on the landscapes of the prairies and rural Ontario. SONGS FOR RELINQUISHING THE EARTH was first published by the author in 1996 as a handmade book, each copy individually sewn for its reader in response to a request. It appeared between plain covers on recycled stock, with a small photo (of lavender fields) pasted into each copy. The only publicity was word of mouth. Part of Jan Zwicky's reason for having the author be the maker and distributor of the book was a desire to connect the acts of publication and publicity with the initial act of composition, to have a book whose public gestures were in keeping with the intimacy of the art. She also believed the potential audience was small enough that she could easily sew enough copies to fill requests as they came in. While succeeding in recalling poetry's public life to its roots, she was wrong about the size of that audience and her ability to keep up with demand as word spread, Hence, this facsimile edition. In publishing it, Brick Books has attempted to remain as faithful as possible to the spirit of those original gestures, while making it possible for more readers to have access to this remarkable book.

Songs for Relinquishing the Earth

In this ground-breaking study on the nature of philosophy, Jan Zwicky demonstrates how much of potential philosophical significance is lost if our notion of meaningful language is constrained by narrow concepts of analytic rigour. Her aim is not to dismiss the role of analysis in philosophy; rather she strives to augment its resources and thereby give to philosophy a voice with greater range and integrity. Two parallel texts, on facing pages, run through the book. The primary one is Zwicky’s, which begins with a critique of existing criteria for defining a work as philosophy, and then develops the notion of lyric in its relation to two other key terms: technology and domesticity. She finishes with an exploration of meaning, form, and content in lyric contexts. The parallel text consists of quotations from other authors. It serves as commentary on, illustration of, and reaction to, the main text; as a way of acknowledging intellectual debts; and as a way of providing an historical context for some of the main text’s claims. Highly original in its thought and presentation, Zwicky’s discussion makes an exciting contribution to contemporary philosophy, forging new connections and expanding old boundaries.

Lyric Philosophy

Marjorie Senechal

Chandler Davis

This book is a collection of creative pieces—poems, short stories, essays, play excerpts—that give shape to mathematical and scientific content. This book portrays by example how various people work creatively with ideas from mathematics and other sciences. Creative writing about the content of mathematics and science is rare, and creative writing about the activity of mathematical and scientific creation is even rarer. And yet, when it occurs, it can be extremely popular, as well known plays like Proof and Copenhagen and biographies like A Beautiful Mind and The Man Who Loved Only Numbers attest. What draws the public to these works? And why, given that something does, are there so few examples of literature that engages these themes? Mathematics and science are part of world culture, part of the human spirit, fit subjects for art of all kinds.

Creative Writing in Mathematics and Science

The Shape of Content

Fifty-six Ontological Studies

This new collection from Jan Zwicky is a set of variations that employs a restricted, echoic vocabulary to explore themes of spiritual catastrophe, transformation and erotic love. Zwicky is a philosopher, musician and award-winning poet who lives on Quadra Island, British Columbia. Her most recent collection of poetry is Thirty-seven Small Songs & Thirteen Silences. Her critically acclaimed books of philosophy, Lyric Philosophy and Wisdom & Metaphor, have recently been reissued in hardcover by Gaspereau Press.

Forge

For the past several years, Jan Zwicky has been developing a definition and working examples of the word “lyric.” Her writing has taken the shape of poetry and philosophy, neither necessarily confined to the traditions of those genres. Thirty-seven Small Songs & Thirteen Silences is the latest in this ongoing focus, previously explored in collections like Songs for Relinquishing the Earth (1998) and in her philosophic works, including Lyric Philosophy (1992) and Wisdom & Metaphor (Gaspereau Press, 2003). The songs in this collection are odes, addresses and apostrophes, to household fixtures, human emotions, shades of light, seasons, stretches of land, departures, sounds and solitude. Working with the most associative details, Zwicky has whittled encounters with her subjects down to their integral and resounding notes. A single light shining from a house in the winter is the bathtub’s call to its tired owner. Dew on the grass is the long note of calm in a hurried departure. Every presence contains absence, every pause embodies continuation, every house has “one chink open to the wind.” These are songs to the negative space around solid shapes. Wild grape, nuthatch and August are in part defined by the time around their existence. Bath, laundry and grate have a life both for and beyond their owner, and it is upon these tensions that the poet’s fondness develops. Zwicky’s musical sensibilities give these poems their resolve. The precise lilt of her verse amounts to a resonating frequency for each of her subjects, with the O of each address sounding the driving note. In music Zwicky has captured the energy and suddenness of realizations like homecoming, departure, familiarity and alienation. Her songs walk the tightrope between thinking and being, steadying and strengthening the act of imagination that maintains contact between past, present and future. The seven studies in this collection signal a slower tempo, a downshift into the clipped stillness of memory. Summer months, garden gate, childhood house and silent afternoons are summoned to the surface for a look. These give way to six silences: three-line moments of pause or hush that request careful entrance and exit. Like still lifes or haikus, these silences suspend time within time. Basil springs motionless, grass ripens, pollen settles. As with the absences contained in her songs, Zwicky’s silences embody the tenuous balance between thought and experience. Thirty-seven Small Songs & Thirteen Silences is a vital addition to a remarkable body of work. Zwicky’s lyricism proves to the senses what lies within the parameters set by her prose. The trade edition of this book is a 5 x 8-inch, smyth-sewn paperback bound in card stock with a letterpress-printed jacket. The text is printed offset on laid paper.

Thirty-seven Small Songs & Thirteen Silences

My great- grandmother slept in a boxcar on the night before she made the crossing. The steel ended in Sangudo then, there was no trestle on the Pembina, no siding on the other side. They crossed by ferry, and went on by cart through bush, the same eight miles. Another family legend has it that she stood there in the open doorway of the shack and said, "You told me, Ernest, it had windows and a floor." - from "Robinson's Crossing" The poems in this book arise from Robinson's Crossing - the place where the railway ends and European settlers arriving in northern Alberta had to cross the Pembina River and advance by wagon or on foot. How have we crossed into this country, with what violence and what blind love? Robinson's Crossing enacts the pause at the frontier, where we reflect on the realities of colonial experience, but also on the nature of living here- on historical dwelling itself. In long meditative narratives and shorter probing lyrics, Jan Zwicky shows us-as she has in her celebrated Lyric Philosophy and the Governor General's award-winning Songs for Relinquishing the Earth - how music means and meaning is musical.

Robinson's Crossing

How Poets Think

Auden as Philosopher

A provocative exploration of the experience of meaning, and a clarion call for its recovery in contemporary culture.

The Experience of Meaning

A highly original series of essays on the nature and practice of philosophy.

Essays in Philosophy

Alkibiades' Love

Poet and philosopher Jan Zwicky bears passionate witness to the leading edge of environmental cataclysm.

The Long Walk

Wittgenstein Elegies

Arcing across thirty years and seven volumes, Jan Zwicky’s poetry has always been acutely musical (and sensitive to the silence out of which music comes). In the compositions in Chamber Music, the first anthology of Zwicky’s poems, one may perceive the attunement of her vocations: poet, philosopher, violinist. Bearing witness to the fierce skies of the prairies and the freezing rain of the West Coast, her poetry both praises and relinquishes the earth. Enacting the virtue of clarity prized and defended by her explicitly philosophical work, this poetry is both resonant and integrated. It is also formally diverse, ranging from the singular focus of the lyric ode to suites of variations and fugal structures, from polyphonic textures to the sprawling reach of narrative gestures. Throughout, one feels the deft hand of an adept using powerful metaphors to explore themes of colonial violence, environmental devastation, spiritual catastrophe, and transformation. Resisting Western philosophy’s exclusion of imagination from civic life, Zwicky’s poetry is noteworthy for the tension it achieves between the abstract and the personal, the general and the particular. Meditating repeatedly on themes of love and grief, this poetry is at once passionately committed to the lucidity of its utterances and the fidelity of its images. The editors’ introduction situates Zwicky’s poetry within her philosophical work and the afterword expands on themes explored in a more personal way in an interview with the poet.

Jan Zwicky

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