Submissions featuring poems from the collection, Exile on a Grid Road, were also selected as finalists in the City of Regina Writing Award and the Saskatchewan Writers’ Guild Short Manuscript Awards.
Here’s what those jurors had to say:
City of Regina Writing Award:
Shelley Banks’ poems are finely crafted, with an ear to precise rhythms, an eye to precise images, and a precisely drawn through-line tuned to the fluctuations of the open heart. Poised on the edge between wild and cultivated, weed and garden, order and chaos, tenderness and rage, these poems perform occasional bursts of brilliance, where the macabre and the transcendent meet in unexpected juxtapositions of terror and humour.
The initial poems in Shelley Banks’ proposed collection are a feast of images, emotions and music with lines to be savoured and rhythms that feed the soul. A feast composed of dishes both bitter and strong: a chef’s delight to look forward to.
Juror, Short Manuscript Awards:
?Just how do we claim our identity? Over the course of a long life, is it simply the sum of what we have accomplished, how we behaved and behave now, how others see us and how we view ourselves? Can we ever include a “new-found shadow self” who is opposite?
This is the idea inspiring “High Wire,” a poem dealing with a psychic reading that is completely off the mark. Yet, instead of dismissing the inaccurate account, the narrator considers the possibility of a lost self: “the orphan acrobat who leapt/ from her trapeze and lost/ my spirit, eighty years ago.”
This poem offers surprise as well as a slim and airy shape a trapeze artist could easily swing through.
And, from booksellers, McNally Robinson, re: Exile on a Grid Road:
Exile on a Grid Road is a celebration and exploration of the human experience, from youth to adulthood and illness to joy. Sadness, healing, humour, forgiveness, and joyfulness mingle as Shelley Banks creates detailed narratives of office life, failing health, and complex relationships and confronts the rootlessness and disconnection common to a contemporary experience marked by globalization and increasing mobility.
In many of her poems, Banks presents the conundrum of belonging, identity, and culture. She displays an intimate knowledge of the many environments in which she has lived but also possesses an underlying disconnect due to the temporary nature of her stay in each place. Though poems such as “Moon Offering” and “Grasshopper Summer” are rich with natural imagery of the Canadian prairies, Banks’ writes, “I have no farm./I am three generations past my mother’s flight/from saddles, curry combs and dill./I am afraid of horses./I’m city-deep.”
She expresses a similar separation from her youth in the Caribbean, recalling the vivid details of storms, beaches, and “curry, chutney, tangerines” yet reasserting her alienation and feelings of loss. Encounters with mortality are brought into sharp relief in later sections when Banks introduces an elderly grandmother, aging family pets, and the sudden death of a parent on his way to McDonald’s for a morning coffee. In “Kiss of Knives”, a sequence of nine poems which follows a woman battling breast cancer, Banks reveals her insight into the complexity of emotion present while dealing with illness. This complexity is especially evident in the poem “2: Wings Spread Under Glass” when a woman “so tired she can’t walk/across a grocery store” agonizes that she has become a neglectful parent even as she fights to stay alive.
Banks’ quiet wit keeps her serious subject matter from overwhelming by presenting mundane details of working life with fresh observational humour, including describing tea that “is cold and tastes like chewing gum” and expressing envy towards an irresponsible coworker who “wears Black Cashmere,/come-fuck-me shoes.” She uses rich imagery to evoke nostalgia and to remind readers of the details we often miss during the process of daily life. By combining sharp observation, humour, and accessible verse, Exile on a Grid Road reveals the wonders to be found among the seemingly mundane details of the day to day.
More on the Book:
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