A selection of poems by the man described by the Globe & Mail as "the greatest of our poets." Rooms for Rent in the Outer Planets includes three decades' worth of thought-provoking work, including poems from the Governor-General's Award-winning The Cariboo Horses to Naked with Summer in Your Mouth.
Purdy personally made this selection, assisted by Sam Solecki, the editor of Starting from The Collected Prose of Al Purdy . In these poems, Purdy ponders the remains of a Native village; encounters Fidel Castro in Revolutionary Square; curses a noisy cellmate in the drunk tank; and marvels at the "combination of ballet and murder" known as hockey, all in the author's inimitable man-on-the-street style.
Rooms for Rent in the Outer Planets is destined to become the standard Purdy poetry volume for many years to come.
Alfred Wellington Purdy was one of the most popular and important Canadian poets of the 20th century. Purdy's writing career spanned more than fifty years. His works include over thirty books of poetry; a novel; two volumes of memoirs and four books of correspondence. He has been called the nation's "unofficial poet laureate".
Born in Wooler, Ontario Purdy went to Albert College in Belleville, Ontario, and Trenton Collegiate Institute in Trenton, Ontario. He dropped out of school at 17 and rode the rails west to Vancouver. He served in the Royal Canadian Air Force during World War II. Following the war, he worked in various jobs until the 1960s, when he was finally able to support himself as a writer, editor and poet.
Honours and awards Purdy received include the Order of Canada (O.C.) in 1982, the Order of Ontario in 1987, and the Governor General's Award, in 1965 for his collection The Cariboo Horses, and again in 1986 for The Collected Poems of Al Purdy. The League of Canadian Poets gave Purdy the Voice of the Land Award, a special award created by the League to honour his unique contribution to Canada.
Al Purdy died in North Saanich, B.C., on April 21, 2000. His final collection of poetry, Beyond Remembering: The Collected Poems of Al Purdy, was released posthumously in the fall of 2000.
On May 20, 2008, a large bronze statue of Purdy was unveiled in Queen's Park in downtown Toronto.
I've had this book for more than seven or eight years, but never got into it when I tried as a younger woman. And as a slightly older woman, I'm still not entirely sure that I'm ready for this. It might resonate more with me the older I get, and maybe it's a book of poetry that I need to go back to as I age.
Here's what: Above all, somehow, Purdy is a man's man. Women are simply asides or liminal characters, and although I read male authors all the time and enjoy Cormac McCarthy, who is the master of hating women in his writing, for some reason, Purdy's disregard didn't sit well with me. I guess maybe I assume that poets are supposed to be more emotional or in tune with the relationships between people. But all I gleaned from this particular collection is that Purdy hated his wife.
Is Purdy "the voice of the Canadian vernacular," as Margaret Atwood's blurb on the back of the book says? No. He's a voice of a Canadian vernacular. That said, I think he absolutely flies when he describes humans, and sexuality, and sometimes love, and the occasional environmental/flora/fauna subject. But he does tend to fall into the Canadian rut, which is to ruminate (A LOT) on the outdoors and the harsh loneliness of Canadian geography.
But, of course, it must be said that his poem Necropsy of Love is the best poem ever written. And is the reason that I read him at all. So I can forgive all his weaker writing simply for that poem alone.
I wonder what screwed up philosophy what claim to a god's indulgence make men decide their own importance
from The Beavers of Renfrew
In this year of the centenary celebration of his life, there is no doubt as to the importance of Al Purdy. His innovative, down to earth style, prolific output, and his indisputable influence on Canadian poets and Canadian poetry set him as a peoples poet, making up his own rules as he went along. Sprawling, sometimes awkward sometimes tender, Purdy continues to surprise with the range of his attention.
...our true language speaks from inside the land itself
from a handful of earth 1977
Or else that's another illusion something nice to believe in and all of us need something something to lift us from ourselves
from the poem Fidel Castro in Revolutionary Square
While I don't necessarily "like" Al Purdy's style, I definitely respect him. Rooms for Rent in the Outer Planets compiles poems from thirty four years and twelve different books of poetry. It's amazing how little Purdy's style has changed over the years; aside from the index, there's no indication when the poems come from a different book...and, surprisingly, the end result is cohesive. The poems usually sprawl for two or three pages with no commas or full stops—only the occasional dash, indent, or question mark—which was either annoying or brilliant depending on my mood. It's easy to get distracted as the poems wandered ceaselessly, and I would have to go back and re-read more deliberately. His poems are about nature, history, ecology, geology, death, and the insignificance of life. Purdy brilliantly mixes the colloquial and quotidian with the profound.
On page 106 he writes about the dreaded "bouganvillea" and might be the only poet I can forgive for writing about it.
Poems that I liked: "Spring Song," "At the Quinte Hotel," "Home-made Beer," "Trees at the Arctic Circle," "Arctic Rhododendrons," "Dark Landscape," "Lament for the Dorsets," "Over the Hills in the Rain, My Dear," "Detail," "A Handful of Earth," "May 23, 1980," "Bestiary," "Adam and No Eve," "The Smell of Rotten Eggs" (last stanza), "The Others," "Seasons," "On Being Human." Also enjoyed the Afterword.
At least one list has Al Purdy as the number one Canadian poet of all time. (With Layton at 40, I believe, and Cohen at about 57). Well, not on my list. Even when Purdy's subject matter is intriguing, I don't like how he approaches it. These poems are from 1962-1996 and I didn't much find of interest until the mid-1980s or 1990s. (The poems are not dated or even listed by previous books so it's hard to determine a date). With 30 pages left of a 150-page book, he suddenly starts writing about dinosaurs, the Pleistocene, the evolution of flowers, and Gonwanaland--and Voltaire--and his poems, to me, become markedly better and more interesting. Perhaps that may be traced back to an event in his later life. Perhaps not.
I have highlighted a dozen clever or catchy turns-of-phrase but only a few poems that enthralled me. But we each bring our own personal history to the reading poetry. Yours may give you an entirely different take on Purdy than mine. After all, he was listed at Canada's main poet for a reason.
Was Al Purdy a chauvinist or demeaning of women? Are his critics pretty much on cue? Can we know what his intent was when writing his poems, or level criticism at the man, not the art? Did he really hate his wife that much? Should this affect one's appreciation for his technical abilities, or any other quality of his work?
I have not read any external biographical information about him - just the work itself. Should the work speak for itself then?
To his critics perhaps, he claims to be a sensitive man in At the Quinte Hotel. Or maybe its just tongue-in-cheek. Have a listen, whatever your opinion of Purdy you may still enjoy this, especially if your're reeling for the sound of Gord Downie's voice.
I agree with Robert Frost about tennis and handball and free verse, so Al Purdy begins somewhat handicapped for me. Purdy mentions in his Afterword that "rhyme and metre are not outdated" and "I quite often use rhyme myself, and metre as well . . . ." Purdy was brilliant craftsman of imagery, but I find it is in those moments when he lets himself be the craftsman of metre and rhyme that he is at his best, and so much of the rest can feel lazy. As wonderful as Purdy's poetry is, I think it would have benefited greatly from the greater metrical rigour of which he was certainly was capable.
Purdy bears his soul, flaws and all, in a wonderful collection of poems. He makes my heart ache for the boreal forests and wilderness of my childhood, and while some of it comes off dated and wouldn't fly today, there's a reason he's the blue-collar poet of a nation.
Those who DNF missed out, the quality really improved in the second half. On the Flood Plain, Piling Blood, and The Smell of Rotten Eggs are my favourites
He's obviously a good poet but nothing really resonated with me. It got tiring reading about him bitching about his wife and close-examining the landscape.
Lost and wandering in circles the camp seen for a third time was like stubbing your toe on a corpse mouldy rotten logs an open grave but the woods myth of continual circling comfortingly verified as accurate seemed a remote contact with warm human wisdom
It also seemed natural to address the trees as a people substitute but they would not speak made no reply to his whispering yells although some were fat or thin a few even looked a little friendly but he told himself they were only trees and said to them "you're only trees" unsettled to hear himself talking to a forest
That last time he saw the hunting camp spectral with decay among the green life something seemed to delay his own continuance assuming continuance to be sequence of thought at least there was a gap in his life he couldn't explain until afterwards his last memory standing at an open tomb which must have been the camp - then nothing
Afterwards new-arriving bruises were evidence of a few seconds when his brain had stopped but feet had carried his mindless body forward the forgotten feet slammed against trees forest undergrowth whipped against his face the feet bounced a body from tree to tree and someone who was not his someone had lived in his body during his death then he re-occupied but without memory only pain-evidence and a feeling of violation his own thoughts beginning again and searching for the stranger in his sixteen-year-old skull
In Hawk Junction distant as the moon but only five miles away he heard the trains' bodies shunting together puzzled that sound came in waves and eddies zig-zag voices that weren't there surrounding him quite different from leaves touching other leaves among which if you listened long enough you might distinguish vegetable words and he said to the leaves "What are you saying?"
In a clearing unaware of the sun he might have seen a hairy man with humped shoulders passing by intent on his own purposes and wondered whether to ask directions and wondered if he was capable of knowing whether the thing was a man or a bear and felt pleasure at this this intuition of instability comforting as a pledge of fear of fear
Whatever time was went by contracted or explained somewhere in his skull one thought went out to explore the brains' territory among locked doors and doors slightly ahar he kept arriving at blind alleys and places of no intention - a second thought said trees had stopped speaking a sub-thought said the trees had never spoken but his thought consensus said they would someday even though threes were fat or thin but not human trains actually were the hoarse voice of reality
Cooling sweat streaked his face and it pleased him and the word for it pleased him : anodyne which means release and solace from terror he thought to make a song of it singing and managing two syllables for ever step "O my darling O my darling Anodyne You are lost and gone forever dreadful sorry Anodyne" and chuckled about the ridiculous sound so exactly right for his regained calmness then turning a street corner in the forest found again the hunting camp
When I first started reading this book I didn't think it was the type of poetry I would like at all, I nearly had to force myself to read it, but the style did grow on me the more I read. I didn't enjoy much of the first half, but the second half held some poems that I throughly enjoyed. (In the Beginning was the Word, On the Flood Plain, and In the Garden.) Most of the poems I felt started out flowing nicely, but had me wondering what on Earth was Al Purdy thinking at the end; to me some of the poems felt "ruined" by the ending, or an odd piece popping up in the middle of a beautiful passage. There are definitely some decent poems in this book, but the majority aren't the type I would seek out. A decent read, and at only 142 pages you might as well give it a try if you are looking to expand your poetry spectrum. Side note: I love, love, love, the title of this collection. :)
"and even tho nobody was there to analyze it they nevertheless produced a feeling you couldn't put a name to which you could only share like moonlight on running water"
Al Purdy was one of the greatest poets our country ever had. His poems tell a story and I am inspired by his work.
"Whatever I have not discovered and enjoyed is still waiting for me and there will be time but now are these floating stars on the freezing lake and music fills the darkness holds me there listening -it's a matter of seperating these instances from others that have no significance so that they keep reflecting each other a way to live and contain eternity in which the moment is altered and expanded my consciousness hung like a great silver metronome suspended between stars on the dark lake and time pours itself into my cupped hands shimmering" (From ON THE FLOOD PLAIN)
As you can see by my rating, this book really wasn’t my cup of tea. Poetry can be a stretch for me, but I was unable to stretch far enough to enjoy Purdy’s material. Many of the poems dealt with strange topics like hunting and drinking and bars and work, and many distinctly unpleasant subjects, like slinging sacks of powdered blood at the fertilizer plant. Definitely not what I expect from poetry. LOL! That being said, this particular passage, from a poem he wrote in the Galapagos Islands, made me smile….
FAVOURITE QUOTE:
“Sometimes the male booby flaps his wings and dances to entertain his mate pointing his toes upward so they can discuss blueness which seems to them very beautiful”
-- excerpt from Birdwatching at the Equator [p. 109]
I picked this up at the Bob Miller Book Room and never regretted it. My favorite poem is "Piling Blood". Just when you think your job is difficult, the poet shares what he had to do for a living. Purdy borrowed from his life to write these poems rich with sincerity. It is amazing that he was not formally educated. His self-education, perhaps, has done more for his creativity than a formalized education maybe would have.
I have to admit that I have a hard time relating to poetry - prose is much more my speed. Having said that, there are some truly lovely turns of phrase in this book. Purdy is at various points funny, snarky, irreverant and thoughtful. I'm still not a poetry convert, but it was a worthwhile read.