What do you think?
Rate this book
Anthologie de la poésie actuelle des femmes au Québec 2000 | 2020
Cette anthologie présente le travail de cinquante-cinq poètes qui incarnent les mouvances de la poésie québécoise actuelle. Outil de référence, ce livre propose de découvrir et de célébrer, dans une approche intersectionnelle et intergénérationnelle, une sélection d’œuvres frondeuses d’un milieu en pleine effervescence.
avec les poèmes de
Martine Audet, Daphné B., Joséphine Bacon, Marjolaine Beauchamp, Virginie Beauregard D., Laurie Bédard, Geneviève Blais, Daria Colonna, Marie-Ève Comtois, Sonia Cotten, Véronique Cyr, Marie Darsigny, Carole David, Denise Desautels, Roxane Desjardins, Anne-Marie Desmeules, Kim Doré, Isabelle Dumais, toino dumas, Clémence Dumas-Côté, Louise Dupré, Mireille Gagné, Renée Gagnon, Marie-Andrée Gill, Véronique Grenier, Catherine Harton, Lorrie Jean-Louis, Natasha Kanapé Fontaine, Annie Lafleur, Catherine Lalonde, Roseline Lambert, Annie Landreville, Tania Langlais, Caroline Louisseize, Stéphane Martelly, Tara McGowan-Ross, Erin Mouré, Roxane Nadeau, Chantal Neveu, Ashley Opheim, Laurance Ouellet Tremblay, Virginia Pesemapeo Bordeleau, Maude Pilon, Sina Queyras, Emmanuelle Riendeau, Maggie Roussel, Stéphanie Roussel, Nada Sattouf, Chloé Savoie-Bernard, Erika Soucy, Elkahna Talbi, Élise Turcotte, Maude Veilleux, Claudine Vachon et Laurence Veilleux.
avec les poèmes de
Martine Audet, Daphné B., Joséphine Bacon, Marjolaine Beauchamp, Virginie Beauregard D., Laurie Bédard, Geneviève Blais, Daria Colonna, Marie-Ève Comtois, Sonia Cotten, Véronique Cyr, Marie Darsigny, Carole David, Denise Desautels, Roxane Desjardins, Anne-Marie Desmeules, Kim Doré, Isabelle Dumais, toino dumas, Clémence Dumas-Côté, Louise Dupré, Mireille Gagné, Renée Gagnon, Marie-Andrée Gill, Véronique Grenier, Catherine Harton, Lorrie Jean-Louis, Natasha Kanapé Fontaine, Annie Lafleur, Catherine Lalonde, Roseline Lambert, Annie Landreville, Tania Langlais, Caroline Louisseize, Stéphane Martelly, Tara McGowan-Ross, Erin Mouré, Roxane Nadeau, Chantal Neveu, Ashley Opheim, Laurance Ouellet Tremblay, Virginia Pesemapeo Bordeleau, Maude Pilon, Sina Queyras, Emmanuelle Riendeau, Maggie Roussel, Stéphanie Roussel, Nada Sattouf, Chloé Savoie-Bernard, Erika Soucy, Elkahna Talbi, Élise Turcotte, Maude Veilleux, Claudine Vachon et Laurence Veilleux.
- GenresPoetry
285 pages, Unknown Binding
Published March 9, 2021
30 people are currently reading
159 people want to read
About the author
Vanessa Bell
41 books18 followersVanessa Bell was born in Hyde Park Gate, London, the eldest child of the eminent literary scholar and critic Leslie Stephen and his second wife Julia Duckworth. At the time of Vanessa's birth Stephen was engaged as editor of the multi-volume Dictionary of National Biography and his was a home wherein intellectual pursuit, particularly of a literary kind, was encouraged. Besides Vanessa there were three other children, Thoby, Adrian and Virginia, and Virginia (later to become Woolf) would most evidence this literary influence. But there was broadness of cultural pursuit, and Vanessa's interest in drawing was approved whilst she was young, and lead to her attending the Royal Academy Schools for a more formal training in art.
Despite such broadness of cultural interests the household was socially, in many ways a conventional one; and to a degree - or so Vanessa would come to feel – hide-bound in its social customs and expectations. After her father's death in 1904, Vanessa instigated a move to 46 Gordon Square, Bloomsbury. Here she and her siblings would live a life of less constrained conventionality. They held 'at homes' to which they invited their friends, and soon it was understood by those attending that not only were there few topics of conversation out of bounds, but a certain tenor of conversation – irreverent, ironic and above all psychologically honest – was expected. From these informal gatherings there emerged a core set of people - the Stephen children, Lytton Strachey, Clive Bell, Leonard Woolf, Duncan Grant and David Garnett amongst them - to which the name 'Bloomsbury' would become attached.
Vanessa married the art-critic Clive Bell. They had two sons, Julian and Quentin, but their marital relationship did not last and for much of their lives they lived apart. They nevertheless maintained close, and for the most part affectionate relations - even during a brief affair which Vanessa had with Roger Fry, a friend, fellow art-critic and sometime professional colleague of Clive's. This affair was short lived, and Vanessa's affections were soon directed towards the artist Duncan Grant with whom she was to have her third child Angelica, born in 1919.
Both Roger Fry and Duncan Grant each had an influence on Vanessa's art. Duncan in more personal ways: she felt spurred to create by him, his influence the result of an eroticised attachment. But theirs was also a collegial relationship: they undertook commissions together for The Omega Workshops, a Bloomsbury venture which sought to supply items of well-designed household artefacts for sale to the public, and they often worked on the same project such as decorating the rooms at their Sussex home Charleston Farmhouse. Theirs was a working relationship not without ambivalence: whilst Vanessa welcomed his creative energies and vision she feared being exposed too much to his influence, and occasionally felt that her own endeavours might be eclipsed by his.
Fry's influence was less directly personal. Fry had a deep interest in modern French art - indeed it was he who was first to introduce Manet and Post-Impressionism to a scandalised British art establishment when he curated the two exhibitions of their works in 1910 and 1912 respectively. And Vanessa found these exhibitions of profound influence: she began to experiment with strong colours and a bold reductionism in her paintings, and much of her most radical work can be traced to the influence of the Post-Impressionists exhibiting just before the war. She would later return to more traditional methods of representation, but a strength of colour would always characterise her work, and it is as a colourist for which she is now perhaps most admired.
Vanessa Bell was a central member of Bloomsbury – in many ways she was the social linchpin which sustained and maintained the group. Writing to her in 1912, Roger Fry says: 'I imagine all your gestures….and how all around you people will dare to be themselves and talk o
Despite such broadness of cultural interests the household was socially, in many ways a conventional one; and to a degree - or so Vanessa would come to feel – hide-bound in its social customs and expectations. After her father's death in 1904, Vanessa instigated a move to 46 Gordon Square, Bloomsbury. Here she and her siblings would live a life of less constrained conventionality. They held 'at homes' to which they invited their friends, and soon it was understood by those attending that not only were there few topics of conversation out of bounds, but a certain tenor of conversation – irreverent, ironic and above all psychologically honest – was expected. From these informal gatherings there emerged a core set of people - the Stephen children, Lytton Strachey, Clive Bell, Leonard Woolf, Duncan Grant and David Garnett amongst them - to which the name 'Bloomsbury' would become attached.
Vanessa married the art-critic Clive Bell. They had two sons, Julian and Quentin, but their marital relationship did not last and for much of their lives they lived apart. They nevertheless maintained close, and for the most part affectionate relations - even during a brief affair which Vanessa had with Roger Fry, a friend, fellow art-critic and sometime professional colleague of Clive's. This affair was short lived, and Vanessa's affections were soon directed towards the artist Duncan Grant with whom she was to have her third child Angelica, born in 1919.
Both Roger Fry and Duncan Grant each had an influence on Vanessa's art. Duncan in more personal ways: she felt spurred to create by him, his influence the result of an eroticised attachment. But theirs was also a collegial relationship: they undertook commissions together for The Omega Workshops, a Bloomsbury venture which sought to supply items of well-designed household artefacts for sale to the public, and they often worked on the same project such as decorating the rooms at their Sussex home Charleston Farmhouse. Theirs was a working relationship not without ambivalence: whilst Vanessa welcomed his creative energies and vision she feared being exposed too much to his influence, and occasionally felt that her own endeavours might be eclipsed by his.
Fry's influence was less directly personal. Fry had a deep interest in modern French art - indeed it was he who was first to introduce Manet and Post-Impressionism to a scandalised British art establishment when he curated the two exhibitions of their works in 1910 and 1912 respectively. And Vanessa found these exhibitions of profound influence: she began to experiment with strong colours and a bold reductionism in her paintings, and much of her most radical work can be traced to the influence of the Post-Impressionists exhibiting just before the war. She would later return to more traditional methods of representation, but a strength of colour would always characterise her work, and it is as a colourist for which she is now perhaps most admired.
Vanessa Bell was a central member of Bloomsbury – in many ways she was the social linchpin which sustained and maintained the group. Writing to her in 1912, Roger Fry says: 'I imagine all your gestures….and how all around you people will dare to be themselves and talk o
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 16 of 16 reviews
August 22, 2021
J’écris rarement des reviews, mais ce livre est tellement nécessaire pour tant de raisons. Merci à Bell et Cormier-Larose pour cette anthologie qui donne (enfin!) toute la place à nos autrices. 💛
Read
February 12, 2025Je ne peux pas vraiment mettre de note sur ce livre puisqu’il regroupe les poèmes de nombreuses femmes. C’est plein de belles découvertes 🫶🏼 Je ne sais trop pourquoi exactement, mais mes poèmes préférés étaient souvent ceux des poétesses BIPOC.
July 26, 2021
Le livre qui conclut mon Goodread challenge de l’année : une célébration, rien de moins. Et de nombreuses voix découvertes que j’ai hâte d’explorer. Merci pour cette magistrale anthologie qui donne envie de lire et d’écrire.
September 14, 2022
Rien de mieux qu'une anthologie pour découvrir de nouvelles poétesses! Une page pour présenter l'auteure ou auteurice et trois pages qui nous donnent un aperçu de son univers poétique. Plus d'une cinquantaine font partie de ce recueil.
August 17, 2021
Des femmes incroyables et inspirantes, des textes d'une grande beauté. De belles découvertes. Je vais assurément m'y replonger avec plaisir. Un ouvrage nécessaire.
January 28, 2022
Première Anthologie de la poésie dans ma PAL. 27 poèmes m'ont énormément touchée. Très prenant , très revigorant.
March 13, 2022
Un livre à la tâche monumentale, mais combien nécessaire !
June 15, 2022
J'ai découvert plusieurs autrices et l'anthologie m'a donné l'envie de lire plusieurs recueils.
January 5, 2023
Je ne suis pas un fan de poésie, mais j'ai été touché par certains de ces poèmes.
Read
February 24, 2023Un excellent livre de référence
February 12, 2023
Le bonheur de découvrir et redécouvrir plusieurs voix qui touchent
February 13, 2023
Bel ouvrage regroupant plusieurs poétesses. Ce n'est pas tout les poèmes que l'on comprend.
May 22, 2023
J'ai aimé faire connaissance avec ces voix dont plusieurs étaient nouvelles pour moi.
July 11, 2024
J’ai aimé la démarche de l’accès à cet éventail de plumes, d’univers et d’autrices. Même si la plupart n’était pas mon style de prédilection, j’ai trouvé quelques coups de poing au cœur.
Read
August 25, 2023oui <3
January 1, 2025
Une anthologie très bien faite ! Il y a une belle variété de poête.sse.s - évidemment, ça fait en sorte que certain.e.s nous rejoignent plus que d'autres, mais l'intérêt d'un ouvrage comme celui-là n'est pas que l'on apprécie chaque texte, mais qu'il puisse nous donner une vue d'ensemble de ce qui fait en terme de poésie "féminine" au Québec. Et c'est très réussi ! Personnellement, j'ai retrouvé avec plaisir des auteurices que j'aime beaucoup, et j'en ai découvert d'autres, dont certain.e.s ont été de vrais coup de coeurs.
Bien contente de l'avoir acheté et que ce soit dans ma bibliothèque pour référence ^^
Bien contente de l'avoir acheté et que ce soit dans ma bibliothèque pour référence ^^
Displaying 1 - 16 of 16 reviews