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Shortlisted for the OCM Bocas Prize, Poetry, 2025
West of West Indian constructs the Queer Caribbean experience as simultaneously individual and collective, embracing the language that continues to unsettle queer life. The collection is, at once, a summons and a love letter to familiar figures like the Bullerman, the Chichiman, the Funny man, and the Anty man. It collects a distinctly queer Vincentian Canadian account of love and autonomy, and while it represents a written journey into queer pain, it is also an exhibition of pleasure flowing through the bodies and minds of its many subjects.
In these poems, E. McGregor combines the lore of family history with personal memory, vividly parsing patterns of inheritance, particularly through the maternal line.
What Fills Your House Like Smoke begins and ends at the deathbed of the writer’s Metis grandmother. In between, McGregor composes an incomplete and wildly imaginative biography of the grandmother, interrogated by family photographs, stories, and the scant paper trail she left behind.
McGregor sifts through the complexities of motherhood, daughterhood, anxiety, intimate relationships and addiction, weaving family history with memory to make sense of what is carried on. Especially affecting are poems about childhood, and the people who disappear from a child’s life, and the struggle to live as a societal outsider, finding strength in self-definition and the power of narrative.
As these poems unfold, they move us toward an understanding of maternal inheritance, shifting identities, forgiveness, and finally love.
At a time when binaristic and hierarchical relations are being readily interrogated, MA|DE — a unity of two voices fused into a single, poetic third — takes up a critique of the human-animal divide in their full-length debut, ZZOO. From the depths of the oceans to the outer reaches of the sky, a menagerie of species trade off time in the limelight, none of them solely occupying the central space on the global stage. MA|DE’s collaborative practice foregrounds interdependence, outward focus, shared spaces and non-hierarchical thinking, all of which emerge allegorically in interzonal poems that are as richly realized as they are formally eclectic. This wild-blooded collection turns conventional exhibitionism on its head, treating humans and animals as equal subjects of art, science and selfhood. ZZOO is a bestiary for the modern world.