Bibliographic record
Abstract
E.D. Blodgett (with Yukiko Onley, photographer), Elegy (Edmonton: University of Alberta Press, 2005), 90 pp. Paper. $24.95. ISBN 0-8886-4450-7. Geoffrey Cook, Postscript (Montreal: Vehicule Press, 2004), 72 pp. Paper. $14.95. ISBN 1-5506-5190-0. Pierre Nepveu, Mirabel, translated from the French by Judith Cowan (Montreal: Vehicule Press, 2004), 96 pp. Paper. $15.95. ISBN 1-5506-5191-9. Reading three collections of poetry, Postscript, by Geoffrey Cook; Mirabel by Pierre Nepveu; and Elegy by E.D. Blodgett, the three are unalike in subject, form and purpose, yet there is throughout a strand of unity; an exploration of the relationship between identity and landscape. In Postscript, Geoffrey Cook takes the reader from his native Canada to Czechoslovakia, the two landscapes both mirrored and contrasted by one another, the poems revolving around landscape, and the concepts of home and identity. In an interview quoted in a Vehicule Press release, Cook says that 'Home (which for me always includes a landscape) is the source of imagery with the most profound resonances ... yet I cannot escape the contrary feeling that I have become a comefrom- away'. In this way, his Canadian-set verses expose his feelings of nomadic unbelonging even as he is in his homeland. As he writes towards the end of 'Still Life', Behind me a dyke and a plain: rich, familiar, but land reclaimed by others bores me. In my thirty-third year and without a home, I'll winter once again in an old apartment in Toronto. (pp. 19-20) In the same vein, Cook's relationship with Czechoslovakia is one in which we can perceive a feeling of safety, almost love, with the impossibility of belonging. He is not supposed to belong in this strange and foreign land and, as he asks in 'Kuks (Namesakes)', you've left me for the life we've left back home; my job has ended; my visa soon expires; ... won't any move I make be out of place? (p. 37) It is not only theme and subject matter, though, that reveal Cook's talent; his use of alliteration and assonance is exquisitely displayed in 'Chopping Wood' ('a chopped cord stored against the cold', p. 22), while 'Fisherman's Song' has a liveliness of pace that breaks up the other poems. This is a collection of poems that is at once unified in its themes of nature, landscape and belonging, but also varied in form and feeling; it does not slump into monotony and repetition. Cook explores diverse and foreign styles of verse -haiku, tanka and ghazal- making them his own and, in employing simile to liken his poetry to a physical topography, 'like a wooden siding or irregular breaking rows of waves' (p. 66) he shows himself to be at home in the landscape of poetry, even while geographically he will forever be a 'come-from-away'. Mirabel offers an imaginative and dismaying insight into the project of Mirabel airport, from its beginnings in blueprints and land clearance, to its construction and present-day desertion. Like Geoffrey Cook's Postscript, Nepveu's Mirabel also looks at the connection between place and identity, but here the focus is on how landscape and livelihood are forcibly changed and destroyed, and the effect this has on identity. While the stones sleeping in the walls, awakened from their sea-born atavism, secretly rolled out recollections. ('Red Carpets', p. 39) In dealing with this transience within landscape, Nepveu concerns himself not only with the changes that come to the Quebec farmland with the building of the airport, but also with the ephemeral condition of the airport itself, and of the travellers that have passed through the terminals, their different identities linking their own landscapes, their homes, to Mirabel: Behind a frosted-glass door I overheard a woman sobbing and that suffering carried from some distant country took possession of my body, gently . …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.004 | 0.004 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.488 | 0.315 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".