CBC BOOKS CANADIAN POETRY COLLECTIONS TO WATCH FOR IN FALL 2023
What can we remove from ourselves and still be ourselves?
Written after a brain tumour diagnosis,The King of Terrorsis a treatise on living with illness and the way that language, relationships and our immersion in the natural world can free us from the spectre of impending collapse. Johnstone's poems oscillate between the personal and the public, the clinical and the spiritual, so we're never quite sure what we are seeing, no matter how familiar.
"There is a moving, fierce intensity to The King of Terrors. Jim Johnstone knowingly reminds us that betrayals of the body are also betrayals of language, 'each bloody / mouthful a sentence fragment.' These are lines of admission, ambition, and harrowing truth, and Johnstone despite a future only as certain 'as the body // it inhabits' offers a form of redemption, for the fortitude of the sick, for poetry itself." Randall Mann, author of Deal: New and Selected Poems
"The King of Terrorsis a luminous meditation on the otherworld of illness and treatment, contemplating the mysteries of death and the frontiers of mind and body with sharp clarity and radical vulnerability. These mesmerizing, urgent poems admit us not only to waiting rooms and brain scans, but also to the intimate fears that accompany the estranging experience of being unwell, or, as the poet says, living 'between / age and agency.' Haunting, stark, and lyrical,The King of Terrorsis charged, as all the best poetry is, with the shock of the mortal." Sarah Holland-Batt, author ofThe Jaguar
About the Author :
Jim Johnstone.
Review :
"Johnstone’s technique is strong. It constructs tender, touching confessional poems about family and love in the midst of awesome terror." – Keith Garebian, The Humber Literary Review
"The King of Terrors [is] an invitation for us to ponder how our relationships, past and present, give temporary form to our worlds." – Kevin Spenst, Subterrain
". . . rarely has a poet written with such insight and precision about the surgical process itself. . ." – David Starkey, '31 Outstanding Poetry Books from 2023,' The California Review of Books
". . . [T]his is precisely what makes Johnstone’s work such a treat for us humble reviewers. We never need to look too hard to find some objet d’art in his work to fixate on." – Jade Wallace, CAROUSEL Magazine
"Despite the unexpected and sudden diagnosis, the poems themselves continue a trajectory of approach from his prior collection, offering a wistful and examining commentary on the violence that exists just below the surface of the skin, whether through larger culture, or quite literally." – Rob McLennan, Dusie
“Infinity Network is a spare, sculpted, and devastating collection that fearlessly explores the outermost range, reverb, and implications of identity politics and techtopia as pale substitutes for human vitality and interdependency. “ – Virginia Konchan, On the Seawall on Infinity Network
“Dog Ear poses personal impressions and collective questions - what we leave behind, if anything, in the physical world - by cultivating images and semi-narratives that are deeply, and sometimes, ridiculously human. In doing so, Johnstone's poems confidently confront love, death, and spectacle.” – Brick: A Literary Journal on Dog Ear
“Johnstone’s poems realize that 'Scuse me while I kiss the sky' was permeated with 'Nothing to do, nowhere to go, / I wanna be sedated' from its very origin and, by now, has given way to it entirely.” – A. F. Moritz, Hamilton Arts & Letters on The Chemical Life
"Jim Johnstone’s The King of Terrors is a poetic telling of how illness and a close encounter with death can make us strange to ourselves and to the world. The book offers a chance to see our lives anew, even the things we regret. The poems dance between accepting death and hoping for a second chance to do it all again. As the poet says, “the future is as certain / as the body / it inhabits / and multiplies rapidly.” – Courtney Bates-Hardy, The Ampersand Review
"In The King of Terrors, Johnstone questions the feasibility of truth and redefines it as creative practice. His authorial voice simultaneously narrates the supposed facts and is unable to do justice to who he is or how he feels. If he as the poet is doubled, made other, and torn apart, the symbolic rendering of sincerity in writing is already suspect at its source." – Klara du Plessis, The Fiddlehead
