Praise for Spawn:
“Marie-Andrée Gill’s Spawn is an epic journey that follows the ouananiche in their steadfast ability to hold: rigid, shimmering, hardened to the frigid waters of winter, in all of its capacities of and for whiteness. Gill’s narrator weaves through their home in Mashteuiatsh and nooks in digital worlds, broken worlds, beautiful worlds, all the while bleeding temporalities into a gallant orality where the northern lights hum with the magnetic fields of Nintendo. Here, the land makes love with the narrator and itself to teach honestly what it means to be held, caressed, and cared for in the most intimate of fashions so that the poems can summon into being a spawn of its own wonderworking dreams: “a woman risen up from all these winter worlds, heaped with ice [and] ready to start again”. —Joshua Whitehead, author of Jonny Appleseed, winner of the Lambda Literary Award
“In any translation there are three texts: the original, the translation, and the text that exists in the gulf between them. What makes Kristen Renee Miller’s translations of Marie-Andrée Gill so remarkable is the way that third ghost-text seems at times to step into our field of vision. Gill writes: “we bathe in the malaise / of hot asphalt / waiting for a habitable word,” and we feel the tension of translation, of using language at all, our doomed human technology. It’s the hardest thing to capture that frustration in language, much less in translated language, and it’s a little miraculous how it’s rendered throughout Gill’s haunting lyric flares. “I’m just trying to resemble / this ancient water of which I am the child,” she writes, and then there it is in the room with us—the weight of the centuries, the weight of the trying. Spawn is unforgettable poetry of the highest order.” —Kaveh Akbar, author of Calling a Wolf a Wolf
“Marie-Andrée Gill undertakes in Spawn a poetry of intimacy and estrangement in technicolor: evoking nostalgia for nature as well as Nintendo, her haunting juxtapositions exist in life cycles of commercial possibilities and ecological impossibilities, of postcolonial globalization and indigenous dislocation. Rendered into crystalline English by poet Kristen Renee Miller, Spawn is an unforgettable work of lyricism and cosmic intelligence.” —Katrine Øgaard Jensen, tr. Third-Millennium Heart, winner of the 2018 National Translation Award
“In these knotty, intense lyrics, Marie-Andree Gill’s Spawn exposes the beauty and cruelty of our fallen, and falling, world. These poems are like small treasures clutched in buried tree roots, preserving “the chalky veins” of ancestral memory pulsing just below our modern hustle. Kristen Renee Miller’s luminous translation gives us a poet who insists on unwinding layers of language—indigenous and settler, pop-cultural, philosophical, and spiritual—in search of elemental connection: “up close, our animal skin / looks like any other.” —Kiki Petrosino, author of White Blood
Marie-Andrée Gill is Pekuakamishkueu and identifies primarily as a poet. Mother, friend, lover, student, her research and creative work concern transpersonal and decolonial love. Bridging kitsch and existentialism, her writing is rooted in territory and interiority, combining her Quebec and Ilnu identities. She is the author of three books from La Peuplade: Béante, Frayer, and Chauffer le dehors. In 2018 she was the winner of an Indigenous Voices Award. She lives in L’Anse-Saint-Jean, Quebec.
Kristen Renee Miller’s poems and translations appear in POETRY, The Kenyon Review, Guernica, The Offing, and Best New Poets 2018. A recipient of fellowships from The Kentucky Arts Council, Vermont Studio Center, Blackacre Conservancy, and the Kentucky Foundation for Women, she lives in Louisville, Kentucky, where she is the Managing Editor at Sarabande Books.
Literature in translation series
April 9, 2020 | Poetry
7.75×5.25 inches | 96 pages
Trade Paper: 9781771665971 $18.00
Author Hometown: L’Anse-Saint-Jean, QC
Translator Hometown: Louisville, KY