474:(1980). "Abandonment" is the catalyst, where "People without names" is the thematic core (i.e., to exist outside the rational labelling consciousness). The question governs Lent's investigation of self in place. Historically, the sonnet cycle has some provenance in a varied number of poems governed by an intellectual pattern. The question posed in the epigraph is that pattern, with a movement from loss and depression to a slow renewal of an expressive vision and cautious hope. For Lent, cultural critique is central to the cycle, as his "Prologue" makes clear. Lent sees the horses as a metaphor for human (dis)connectedness: "hooves thundering through the reader's veins, racing over the planet with a passion that is out of us, sometimes turned against itself, sadly". The second metaphor, also foregrounded in the title, is the representation of place: "In the summer here in the Okanagan there is a shade of
428:". Thematically, Brown observes: "There is some sadness in the new book with its tactful yet poignant descriptions of the ravages of alcoholism and the uncertain emotional relationships of an over-extended family. But there are moments of secure joy as well: moments, rather, that isolate, emphasize, and partly recreate a repeated joyfulness, often caught up in the perception of things." In his review of five new BC books, Brown concludes that, comparatively, "Lent has probably come closest of all these authors to what Charles Lillard called 'a coming-to-terms with the landscape'—of B.C., or anywhere else." Dallas Harrison's observations are similar, though high praise of Lent's descriptive power is forthcoming in Harrison's summary of Jane's narrative as "a crisis of selfhood in London worthy of Antoine Roquentin in Jean-Paul Sartre's
225:
was quite lively and that the newspaper folded after the publication of chapter nine is, perhaps, indicative of a community of writers rather than readers. In addition to these services to the literary arts and promotion of quality writing, Lent has engendered careers in writing through his work as a teacher and as an editor. He was a writer in residence at Sage Hill, Saskatchewan from 2009 to 2011. Lent reads his work in many cities in Canada, the United States, France, and
England. He is a founding member of the Kalamalka Press, the Kalamalka Institute for working writers, and the annual Mackie Lecture and Reading series at Okanagan College. Lent is also a singer-songwriter and played in the
126:"My continuing interest," Lent says, "is the relationship between consciousness and notions of 'narrative' in both fiction and poetry. So I'm fascinated by what happens when you take a person in a very ordinary, textured world and the story that surfaces actually mimics the process of awareness that is right at the heart of that world...so it's this wonderful, crazy mix of subjectivity and things that keeps drawing me to more open, more flexible forms of story. I find that whole process nervy and exciting."
380:, sees the work as the story of Peter Bendy, wherein "Boredom has become his companion enemy that follows him on the long search to find his own 'face in the garden' of life" (38). St. Jacques faults the weakness of Bendy's character, the prose stories, that "come across as mini-lectures" and applauds the poetry, where "Lent allows his sensitivity and calm spirit to surface" (38). Professor R. G. Moyles concentrates on the title, offering an explication of "face" as many and "garden" as
343:" (110). Yet Vasius is critical of what he perceives to be "some poems are so self-centred they leave a fleeting impression that Lent is translating experience into poetry" (110) rather than vice versa. Further to this claim, Vasius contends that the "'how' is exciting whereas the 'what' is often only as new and unusual as the coffee, cigarettes and booze" (110) that punctuate these poems. Christopher Wiseman differs from Vasius in Wiseman's recognition of the regional place and the
510:(2012) embodies Lent's interests in jazz, being, consciousness, landscape and the self. The thematic core is, for lack of better phrasing, a spiritual existentialism—how a human can just be in the world. Another way to cast the theme and, in several respects, the approach may be likened to the following: "It is, of course, an operation to unblock the heart but a tricky one, where you have to go in through the head without getting trapped there." Steven W. Beattie, in his
286:"has captured a sense of experimentation with form It is rare in literature for a reader to have a glimpse of the poet chipping through the rock solid of experience in order to see the poem" (Meyer, 88–90). Meyer's sole review of the book also comments on its packaging and how the reader is "sorting through a pile of debris". This comment underlines the reader's engagement, where sorting through the cards enforces reflection upon the experience and the reading process.
385:
conclusion: "he shift to poetry in the last third of the work an analyzing consciousness a verse that, in its imagistic terseness, is more coldly remote than engagingly elemental" (180). While there is much to agree with in Le Blanc's piece, the shift to poetry, far from being remote, is an imagistic expression that complements the analyzing consciousness. The point is not body versus mind, but rather body and mind—a fusion and a 'return' to that originary garden,
376:. The author's linguistic dexterity underscores the sense of mobility as a theme in life and in literature. The volume is, however, a transitional moment in the writer's career. On the one hand it presents his first published stories; while, on the other, it consolidates his accomplishments as a poet. Reviews of this experimental book range from the journalistic boorishness of John Moore to academic criticism. Elizabeth St. Jacques, in
493:, dazzles with its open, looser structure, inviting the reader—as do each of Lent's works by different means—to an engaged participation in text and in life. Devastating critiques of late capitalism, with an attendant and demonstrable human agency, bring the writer's aesthetic, calmly, quietly, forcefully to fruition. Cherie Thiessen writes that "The short stories in
432:" (113). Harrison misses the point with respect to the Roof sequence when he suggests their deletion, "abstract meditations that add little to the portrait of the family" (113); however, he rightly notes that "hese autobiographically influenced stories suffer somewhat from John Lent's controlling consciousness, evident in the similarity of characters " (113).
278:(1912). Combined, the "rock solid" signposts an emphasis on fluidity and stasis. The title's indefinite article foregrounds this rock solid as one petite narrative among many; that is, the structure and sense are not a univocal, universalising "truth". The relationship between words and painting, tied to the
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newspaper and the
Kalamalka Institute for Working Writers, emphasises the degree to which he experiments with narrative form and authorship. In this instance, the characters and their opening maneuvers were controlled by Lent, then re-authored and re-plotted by eight other writers. That the 'contest'
384:
for life. He views "Towards the
Gardens" as about "family upbringing and its emotional energy", while "In the Gardens" and "Facing the Gardens" present "physical and psychical" (n.p.) terrain. John Le Blanc's review is the most considered, though readers are likely to find room for argument with his
502:
concentrate on structure and theme. Wiersema places emphasis on structure: "Interestingly, the creator never creates a position of privilege for himself; his story is as fictive, and as truthful-feeling, as the "bigger, impossible story" of the
Connelly siblings, and becomes another strand in the
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is a discontinuous narrative of asymmetrical structure – an interweaving of connected stories with elliptical, interconnected pieces on the narrator of the book. The injection of a jazzy structure forcefully creates a three-dimensional literary space, perhaps at the expense of character, while in
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are not plot-driven narratives. Instead they flip around in time, place and point of view, incorporating first, second and third-person perspectives. Lent's dozen stories get as close to three-dimensional writing as is possible." Paul Denham, notes the struggle a critic faces with the book and
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in Lent's aesthetic: "Primarily, however, Lent is an artist of the 'negative space' of unadorned day-to-day existence. The stress of his rhythms is clearly on the banal, rather than on the sensational The poet's careful structure of imagery and his muscular tone—his powerful expression of the
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complex and utterly winning tale Lent is spinning." While
Sandborn offers a thematic overview: "The book works both as a straightforward story of family pain, addiction, love and redemption, and as a highly intelligent meditation on the process of writing itself."
240:, a multi-voiced narrative set in Vernon, Strasbourg and the Scottish highlands, scheduled for publication in Spring 2012. He is also at work on a sequence of essays on consciousness and form, covering, among others, the writings of DeQuincey, Gunnars and Lowry.
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that can be so intense it's overwhelming, and you get this gold and silver of the sun shredding it, shattering it, burnishing it, as it goes down." The interconnection of the horses moving out to meet the in-coming sun creates a crease, a physical
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of several poems, evokes the volume's core: "he finds precision satisfying the task he has taken upon himself is to release the petrified voices of those who have lacked the vocabulary; he fashions a frieze from their silence" (Sutherland, np).
416:. For example, Britt Hagarty writes of the "many descriptive passages worthy of quotation" (G6). Hagarty also notes that the book "succeeds powerfully at first. But its initial promise is not kept" (G6). Allan Brown perceptively parallels
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John Lent's family has a strong presence musically; his songs have been recorded by a number of artists. With his sister, Susan, and brother, John Lent formed a folk-rock group, The Circle Widens, who were sturdy cover artists.
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that is attendant to it: "The poems are rooted in real places, but these are turned into places of the mind, way-stations of the migrant heart, touchstones in the poet's search for meaning. The search is intensified by the
445:" nature of the stories, while also joining the chorus of reviewers who applaud Lent's "strong sense of place has the ability to put the reader into both the emotional and physical landscapes of his characters" (3123).
255:
John Lent is an academic, essayist, poet, short story writer and musician. His work is marked by a mixing of genres that aims to produce a literary equivalent of jazz music. Lent also draws on art (especially the
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displays the inattentiveness of the reviewer, especially to the book's structural experiment. See McLuckie's review for a contrasting perspective. Susan
Patrick's capsule review emphasises the predominantly
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Lengthier analyses of Lent's work are found in Craig McLuckie's "Improvisation of Self and Other in John Lent's
Developing Aesthetic", which offers coverage of the published work (excluding songs) up to
204:. He retired from the position of Dean, North Okanagan Region, Okanagan College, in April 2011. He was influential in the creation of the Ryga Award for Social Responsibility in Canadian Literature,
161:. He is the son of Harry and Adrienne (Brown) Lent and is one of seven siblings (Susan, Michael, Harry, Francis, Timothy, Mary-Lou). Lent married the painter Jude Clarke in 1981. Educated at the
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penetrates day-to-day rituals of renewal. The narrative employs a simple plot—the protagonist's drive (from Vernon) past
Kalamalka Lake, then Wood Lake, and finally Duck Lake and into Kelowna.
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labels but also sees that struggle as an impediment "from its real emotional power of a story (or series of stories, if you prefer) about the joy and pain of being a family." Two reviews in
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range of the poetry, from the high serious to the most colloquial, blended smoothly and always at the poet's service" (190). Michael Estok presses further, highlighting a
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is a
Canadian poet and novelist, as well as a college teacher of creative writing and literature. He has published ten books from 1978 to 2012. His book,
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for his own designs. The effect is not, as one might think, poetic conservatism, since he creates new forms through rhythmic change-ups, diction,
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structure runs from "Monday, September 8, 3:30 pm" through "Monday, October 13, 7:00 am; 1:00 pm" Time represents the specific
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764:"An Encapsulated Overview of the history of The Mackie Lake House/Okanagan College Mackie Lake House Writer In residence Project (2002-2012)"
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149:. Lent is a member of the Writers Union of Canada, SOCAN, the Canadian Songwriters Association, and the Associated Writing Programs (USA).
550:, readers are immersed in an intimate conversation between two greats of Canadian literature—great teachers, great writers, great minds."
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91:. Lent has read from his work in many cities in Canada, and internationally. Lent has also published critical articles on the work of
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20:
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hypnotic rhythm of the ordinary—elicit our confidence in his ability to redeem the commonplace" (9). Cheryl
Sutherland, in a fine,
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212:(a creative writing ezine) and the KIWW Digital Archives, as well as several radio programs and newsprint collaborations such as
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270:, with emphasis on its derivation from the Old High German rucken: "to cause to move". The term solid relates to the
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have been positive. Andrew Vasius, for example, applauds Lent's use of "end-line, internal, vowel and consonant
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274:-influenced geometric structure, an insight prompted by the epigraph from Albert Gleizes and Jean Metzinger's
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Lent is also a singer-songwriter and plays in a roots/jazz trio, The Lent/Fraser/Wall Trio, which performs in
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more closely resembles a symphony, with a number of different movements circling around a central theme."
408:, 2003), the poet opens out to societal concerns. The reviews are plentiful and consistently positive for
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suggestion in the volume's title, stress the poet's inter-related concerns with a totality of experience.
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through the application of lessons taken from Joseph Frank's concept, spatial form, as well as its
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216:. John Lent's participation in and authoring of the opening chapter of the, initially, serialised
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frame of the trips, while their incremental repetition offers an accretion of being in place.
296:, but a greater sense of mood is evoked. In tune with the sense of foreboding, the narrator's
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200:. Starting in 1979, he taught creative writing and literature courses at Okanagan College in
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39:. Lent's fiction and poetry have appeared for years in magazines across Canada, including:
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145:, UHF and others. John Lent lives with his wife, Jude Clarke (painter and writer) in
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is John Lent's sixth published book, his fourth of poetry. Based on revisions to a "
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260:) and has been influenced by the pioneering work of Joseph Frank in spatial form.
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Lent lives in Vernon, British Columbia, where he has finished revising a novel,
538:, which offers significant insight to Lent's creative praxis generally and to
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The Language of Water: A Woman's Struggle With Systemic Lupus Erythemotosus
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466:, with a reflective "prologue". The new edition incorporates a governing
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Moore, John. "Strange and Surreal Ways to Wave Farewell to the Summer."
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plays off the various senses of the term rock: geological, musical, and
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by using prose and poetry to refer to external and internal states of
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1997. Editor in Chief, Joyce M. Wilson. Toronto: CBCRA, 1997. 3122-3.
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Ed. Len Kuffert. Winnipeg: St. John's College Press, 2007. 113–130.
720:"The George Ryga Award for Social Awareness in Literature Overview"
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developments—in particular the emphasis on space/place. Reviews of
332:
165:, B.A. (with honors), 1969, M.A., 1971, where he was a student of
937:"Some Raven Tales: A Bird's Eye View of Short Fictions from B.C."
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Abundance: The Mackie House Conversations about the Writing Life
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review of the novel has caught its place in Lent's oeuvre: "If
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208:, the Mackie Lecture and Reading Series, the Kalamalka Press,
530:, and the book length conversation on writing conducted with
412:, Lent's major prose achievement prior to the publication of
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Other biographical information is available in Jude Clarke's
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St. Jacques, Elizabeth. "Review: The Face in the Garden."
19:
For professor John A. Lent of Temple University, PA, see
980:"John Lent – Review of Monet's Garden by Craig McLuckie"
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Sutherland, Cheryl. "Poet Draws on Family Memories,"
1040:
MLA: Denham, Paul. Future of the Family. canlit.ca.
724:
George Ryga Award for Social Awareness in Literature
459:contains the original twelve poems reworked as ten
839:Estok, Michael. "Recent Poetry from Thistledown."
813:Vasius, Andrew. "A Gambol, A Walk, and a Stroll,"
133:, and has opened for groups as various as Leahey,
1095:"Book Review: The Path to Ardroe, by John Lent"
965:Compton, Valerie. "Edmonton 1960 Evoked Here."
766:. Mackie Lake House Foundation. Archived from
748:Hartig, Jean. "Sage Hill Writing Experience."
1136:Kroetsch, Robert; Lent, John (October 2007).
483:that assures humanity is in the right place.
424:and general effect, to his poetry collection
8:
1079:William McIlvanney, epigraph to his volume,
662:
660:
1044:, December 8, 2011. Web. December 20, 2011.
826:Wiseman, Christopher. "Limits of Feeling."
220:, a community writing project initiated by
996:Patrick, Susan. "Review: Monet's Garden."
952:Harrison, Dallas. "Delicate Connections."
518:is a series of distinct riffs and trills,
1302:21st-century Canadian short story writers
1297:20th-century Canadian short story writers
925:(Vancouver), Saturday, 29 March 1997. G6.
895:." SOURCE INFORMATION NEEDED (1991). 196.
1022:from the original on September 25, 2020
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157:John Lent was born on July 8, 1948, in
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1171:"Angie's Book Review on "Abundance""
546:, reviewing the book, remarks " In
449:Black Horses, Cobalt Suns: new poems
173:, 1971–75, including field work in
169:, Lent pursued doctoral studies at
1312:21st-century Canadian male writers
1307:20th-century Canadian male writers
1093:Beattie, Steven (August 3, 2012).
904:LeBlanc, John. "Male Expression."
869:, Saturday, October 19, 1991. D19.
21:International Journal of Comic Art
14:
1317:Canadian male non-fiction writers
1257:Canadian male short story writers
1237:Canadian male singer-songwriters
642:(with the Lent/Fraser/Wall Trio)
1227:21st-century Canadian novelists
1212:20th-century Canadian novelists
800:Meyer, Bruce. "Six Chapbooks."
791:. Saskatoon: Thistledown, 2002.
455:cycle" completed in 1995, this
35:, was shortlisted for the 2006
1083:, Edinburgh: Mainstream, 1988.
882:(December–January 1991–92). 38
542:specifically. Kootenay writer
206:Ryga a Journal of Provocations
1:
1287:Writers from British Columbia
1124:The Prairies: Lost and Found.
699:The Writers Union of Canada,
194:Notre Dame University College
1272:University of Alberta alumni
750:Poets & Writers Magazine
1262:Literary critics of English
1242:Canadian singer-songwriters
1232:21st-century Canadian poets
1217:20th-century Canadian poets
1053:Robert J. Wiersema, Review
998:Canadian Book Review Annual
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956:26.2 (Summer 1997). 112-3.
908:133 (Summer 1992). 179-81.
830:105 (Summer 1985). 188-90.
706:December 20, 2011, at the
292:continues the emphasis on
37:Ethel Wilson Fiction Prize
18:
16:Canadian poet and novelist
1247:Canadian literary critics
917:Hagarty, Britt. "Review:
701:member page for John Lent
591:Black Horses, Cobalt Suns
528:Black Horses, Cobalt Suns
398:Black Horses, Cobalt Suns
389:, where humans could be.
1277:Writers from Nova Scotia
804:92 (Spring 1982). 88–90.
214:The Kalamalka Chronicles
202:Vernon, British Columbia
198:Nelson, British Columbia
147:Vernon, British Columbia
1252:Canadian male novelists
984:www.postcolonialweb.org
891:Moyles, R. G. "Review:
470:from Robert Kroetsch's
311:In subsequent writing (
233:trio Lent Fraser Wall.
159:Antigonish, Nova Scotia
1066:Tom Sandborn, Review,
893:The Face in the Garden
854:Saskatoon Star-Phoenix
605:(with Robert Kroetsch)
579:The Face in the Garden
366:The Face in the Garden
317:The Face in the Garden
940:The Antigonish Review
506:Lent's recent novel,
245:The Language of Water
188:, Lent taught at the
163:University of Alberta
89:The Antigonish Review
1282:Writers from Alberta
856:, September 6, 1984.
770:on February 16, 2019
634:Recordings include:
438:The Edmonton Journal
319:), Lent loosens his
218:Kalamalka Chronicles
192:, Saskatchewan, and
190:University of Regina
1222:Canadian male poets
1142:. Kalamalka Press.
1105:on January 29, 2013
1081:In Through the Head
1042:Canadian Literature
906:Canadian Literature
843:(November 1985). 9.
828:Canadian Literature
802:Canadian Literature
678:on January 14, 2014
597:So It Won't Go Away
540:So It Won't Go Away
516:So It Won't Go Away
495:So It Won't Go Away
489:, the follow-up to
487:So It Won't Go Away
414:So It Won't Go Away
33:So It Won't Go Away
1292:Postmodern writers
1068:The Globe and Mail
1055:The Globe and Mail
1010:Thiessen, Cherie.
616:The Path to Ardroe
610:Cantilevered Songs
520:The Path to Ardroe
508:The Path to Ardroe
500:The Globe and Mail
238:The Path to Ardroe
181:and Spatial Form.
57:The Wascana Review
41:The Malahat Review
1070:, August 26, 2006
867:The Vancouver Sun
817:12(?).4. 108–110.
624:978-1-927068-01-4
472:The Crow Journals
251:Critical response
184:Prior to joining
109:Kristjana Gunnars
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674:. Archived from
672:Lent Fraser Wall
668:"About The Trio"
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175:British Columbia
143:Long John Baldry
131:British Columbia
97:Thomas DeQuincey
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630:Discography
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476:cobalt blue
210:KIdsWWwrite
1201:Categories
1155:August 14,
1109:August 14,
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651:References
461:free verse
406:broadsheet
404:(a poetic
345:vernacular
276:Du Cubisme
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880:Freelance
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422:intention
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378:Freelance
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321:aesthetic
294:landscape
153:Biography
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29:John Lent
1020:Archived
704:Archived
481:epiphany
468:epigraph
457:chapbook
382:metaphor
302:Temporal
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354:motif
350:tonal
333:rhyme
227:roots
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1187:2011
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