The texts and artworks in
this issue come together within and across many of Roy’s varied communities:
artistic, activist, academic, and Asian Canadian among all of these,
considering subjects like asiancy, archives, and, crucially, Roy’s imperative
to action as a few more principles within his astonishingly imaginative praxis.
The alliterative synchronicity here all the while attempts to return readers to
the materiality of language that roots Roy’s work. As Michael Barnholden,
editor of Miki’s Flow: Poems Collected and New, affirms: “Roy’s first
language was language.” (“Editor’s Note,” Emily Fedoruk and Jacquelyn Zong-Li Ross)
For those unaware of Miki’s literary output, specifically his poetry, you should pick up Flow: Poems Collected and New, edited by Michael Barnholden (Vancouver BC: Talonbooks, 2018) [see my review of such here], a book of some six hundred pages, covering all five of his published poetry collections—saving face: poems selected, 1976-1988 (Winnipeg MB: Turnstone Press, 1991), random access file (Red Deer AB: Red Deer College Press, 1995), Surrender (winner of the Governor General’s Award for Poetry; Toronto ON: Mercury Press, 2001), There (Vancouver BC: New Star Books, 2006) and Mannequin Rising (New Star Books, 2011)[see my review of such here]. certainly well known as an editor and critic, from his years of West Coast Line to a collection of essays, a bibliography of George Bowering and editing Roy K. Kiyooka’s posthumous selected poems [see my review of such here] and bpNichol's posthumous critical writings, Miki is perhaps still best known for his years fighting for and finally achieving redress from the Canadian federal government for the internment of Japanese Canadians during the Second World War. One can best describe his decades of writing, editing, activism and teaching as a community-based focus on questions about identity, citizenship, race, and place.
dear roy,
this break between our years
makes the arch of a bridge you ride
into vaporous clouds (“dear roy,” shō yamagushiku)
This special issue of The Capilano Review offers work by Michael Barnholden, Carolyn Nakagawa, Yoriko Guillard, Larissa Lai, Nicole Markotić, Cindy Mochizuki, Fred Wah, Yilin Wang, Echo Quan, Tiziana La Melia, Vivek Sharma, Gloriah Amondi, Khashayar “Kess” Mohammadi, Sena Cleave, shō yamagushiku, Wayde Compton, Daphne Marlatt, Rita Wong and Ranbir K Banwait, whether as direct tribute or response, or as indirect continuation of Miki’s decades of attention and labour. A play of language across language; a cross-section, that suggests and even explores further depths. The issue includes direct responses, but also pieces from those who might walk one of the many paths, so to speak, that Miki worked so hard to forge. Cindy Mochizuki, for example, provides “a textual and visual response” to Miki’s poem “Flow Nation,” from his collection, There. Larissa Lai offers “Rising Mist: Five Haibun for Roy” which are quite stunning (and hopefully part of an eventually-forthcoming collection, certainly). Wah offers some further lines of thoughtful lyric, of reminiscence, as does Nicole Markotić, providing an intimate detailing of Miki and Miki’s lyric in Winnipeg, upon first meeting him there. On his part, Wayde Compton provides the first part of an extended epic-in-progress, “Epistles to Oya: An Epic,” that stretches across an incredible canvas:
In the commander’s
quarters, gathering
washing, she stopped, and
her shape
formed in the ornate
lead-framing looking-
glass across the mantle:
her self a
stutter, a ripple in
silver, foxed, a flash
of seeing; and in her cradling
arm, swaddled warm, the
worn
leather at her hip as she
worked, the two
oblong in the moment,
together ahead
of missing, of breaking. And
above
his bed a painting, a
flattery, this
commander, his eyes
shadows, his face
a simmer, a smear of
power, at his neck
a chain, a locket on it,
a spiral
engraving of a ram’s horn
there in
gold, a circling
back upon itself. It hung
in paint as in life
covering his heart.
Echo Quan offers an intriguing sequence of text and photography, another form Miki had been exploring himself across a number of years. Translator and poet Yilin Wang offers three poems, the first of which, “mother tongue,” begins: “what is your mother tongue after you were / hoisted away from china at the age of four, and only // recovered the brushstrokes of your grandma;s name / by chance a decade later?” Highlights are almost too numerous to mention. I was also intrigued by the multiple pages of drawings, and again and again now that we know we know we know, by Sena Cleave, introduced with this short statement by the artist:
The curved lines in and again and again now that we know we know we know take after Roy Miki’s use of parenthesis in his poetic work. in poems like “Dome’s Story” and “The Fronds on Galiano,” I noticed how Miki would open parentheses without later closing them – sometimes opening multiple in a single poem – evoking a margin that continuously grows. Reflecting on Miki’s writing and activism (the latter of which he has described as a continuous process of change and negotiation) during the current rise in anti-migrant policies, I began drawing parentheses with coloured pencils, repeating and layering them until the parentheses took on a structural role in the composition, similar to how a stitch functions in embroidery, or how a row of thread functions in weaving. and again and again now that we know we know we know continues my inquiry into textiles, agriculture, and other repetitive forms of labour, using materials such as thread, fabric, and pine needles to think through themes of precarity, sustenance, and persistence.
Literature, I’ve heard it said, is less a continuous thread than a constellation of interconnected hubs, from which so much activity emerges, and Miki was one of those very important touchstones for multiple generations of writers, academics, readers and thinkers, well beyond his years teaching at Simon Fraser University (although a number of these contributors can be counted as some of Miki’s former students). As well, this is not the first special issue on Miki and his work, as the late journal that he founded, West Coast Line, produced a special issue, titled “Miki,” as issue #57 (42.1: spring/summer 2008), guest edited by Fred Wah [see my review of such here]. As Wah beings in his introduction to that issue, a consideration that could be equally applied to this current volume:
This issue of West
Coast Line is a tribute to its founder, Roy Miki. It is not intended as
collection of anecdotal or hagiographical testimonials but, rather, a
collection of writing from some of the writers who have cohabited Roy’s
extensive cultural community over the past 40 years. Writing was solicited to
reflect not only the moment of production but also to reflect to Roy a partial
sense of the threads of his own creative and intellectual milieu which he has
generated through a lifetime of writing, thinking, and activism.
