I've sort of been fretting a week
over writing this introduction.
My biggest problem was that every time I
would sit down and try and take notes,
I kept on writing the same sentence or the variation
of the same sentence, which was the first time I
read Robin Robertson's poetry.
And I realized, an introduction of a poetry
should be about the poet, not necessarily about the reader.
But Robin Robertson's poetry is so rich, lyrical,
and inclusive, that it is often hard to separate
the poet from the reader, and more particularly,
the experience of reading one of his poems from one's
own lived experience.
Robin Robertson has been compared to a still life
painter, to a photographer, and although these
are suitable metaphors, they are not a perfect match
to his art form.
The first time I read Robert Robertson's poetry,
I felt as though I'd been taken into my own memory.
Even though, I had never experienced
the events he was describing.
In a haiku from Slow Air, which I won't quote, because I can't
do it without giving away the ending,
Robertson describes a competition
between two painters who try to see which one can
paint the most realistic image.
One painter paints a bunch of grapes.
So true to life that birds peck at them.
If we were to use the metaphor of a still life painter
to describe the poetry of Robin Robertson, it would begin here.
Robertson's first book, A Painted Field,
won the 1997 Poetry Prize, sorry, the 1997 Ford Prize
for Best First Collection and the Scottish First
Book of the Year Award.
Slow Air was published this past spring.
And his anthology, Mortification,
is just hitting the bookshelves now.
In this anthology of over 80 entries, writers
from around the world sharing their experiences
of public shame regarding teaching,
going to literary parties, literary festivals,
literary readings, I think, this one's going OK, so far.
It also covers being reviewed, doing book reviews, book
signings, and if you have a copy of Mortification with you,
and you want to have him sign it,
you can talk about the irony in that.
And finally, to the world of television and radio,
which allows so many more people to share
in the shame of being a writer.
Robin Robertson has also made numerous contributions
to the poetry community, particularly,
as the editor of Cape Poetry, one of Europe's most
prestigious publishers who publish poets such as Michael
Longley and Matthew Sweeney.
Also a little known fact that, as a poet,
Robin Robertson is somewhat of an honorary Canadian.
Canada being the country famous for maple syrup,
same-sex marriage, and decriminalized marijuana,
as well as its own poetry community.
Robin Robinson graduated from the University
of Windsor in Ontario where he studied
under the great Canadian short story writer, Alistair MacLeod.
In 2000, along with Margaret Atwood, Michael Ondaatje,
Robert Hass, and David Young, Robin Robertson
became a trustee for the Canadian-based Griffin Poetry
Prize, which recognizes excellence in poetry
among Canadian and international books of poetry.
Past short list poets include Alice Notley, CD Wright,
Les Murray, Fanny Howe, and last year's recipient, Paul Muldoon,
as well as Canadian poets such as Karen Solie, Anne Carson,
Don McKay, and Dionne Brand.
From all aspects of Robin Robertson's career,
we can see a strong dedication to poetry.
Whether it is as the editor of Cape Poetry, as editor
of various anthologies, as a trustee of the Griffin Prize,
or tonight, more importantly, through his own poems,
which are also a major gift and contribution to the art
and craft and vibrancy of contemporary poetry.
Please join me in welcoming Robin Robertson.
[CROWD APPPLAUDS]