Judith Copithorne Explained
| Judith Copithorne |
| Birth Date: | 1939 |
| Nationality: | Canadian |
| Education: | University of British Columbia |
| Known For: | Concrete poetry |
Judith Copithorne (born 1939) is a Canadian concrete and visual poet.
Life and career
Judith Copithorne grew up in Vancouver, British Columbia, in an artistic family. She started writing and drawing at an early age and, by the time she attended the University of British Columbia, had already established a unique artistic style. At UBC, she studied under prominent figures such as Warren Tallman and George Woodcock.
In the early 1960s, she became acquainted with an informal group of "Downtown Poets," including writers such as Gladys (Maria) Hindmarch, John Newlove, Bill Bissett, Gerry Gilbert, Maxine Gadd and Roy Kiyooka, centered around the Vancouver venues of Sound Gallery, Motion Studio and Intermedia Press. The Downtown Poets were involved in more radical experimentation than the established TISH group of the University of British Columbia, represented by poets such as George Bowering, Fred Wah, Frank Davey and Daphne Marlatt.[1] The appellation "Downtown Poets" was invented by UBC professor Warren Tallman to distinguish the San Francisco Renaissance-influenced UBC writers from the homegrown Canadian poets.
Judith Copithorne works with concrete poetry and other types of experimental writing in prose, poetry and visual poetry. Her core themes include domestic space and community.[2] Copithorne writes between text and visual forms, with early work combining text with abstract line drawings, called Poem-drawings. In the Introduction to the anthology Four Parts Sand,[3] she describes her work in the following manner: Copithorne has published over 40 books, chapbooks, and ephemeral items; a bibliography of her work was published by jwcurry in the March, 2009 issue #400 of 1 cent).[4] She has been published in blewointment and Ganglia. Her work has been featured in numerous gallery exhibitions and is widely influential for multiple generations of poets living and working today.[5]
Selected works
- Returning (Returning Press, 1965)
- Meandering (Returning Press, 1967)
- Release: Poem-Drawings (Bau-Xi Gallery, 1969)
- Rain (Ganglia Press, 1969)
- Runes (Coach House Books/Intermedia, 1971)
- Miss Tree's Pillow Book (Intermedia/Returning Press, 1971)
- Until Now (Heshe&ItWorks, 1971)
- Heart's Tide (Vancouver Community Press Writing Series #8, 1972)
- History's Wife: a sculpture (Community Cultural Feedback Project, 1972)
- Arrangements (Intermedia Press, 1973)
- Albion's Rose Blooms to Calypso Beat (Ganglia Press, 1985)
- A Light Character (Coach House Books, 1985)
- Third Day of Fast (Silver Birch Press, 1987)
- Horizon (Pangen Subway Ritual, 1992)
- Carbon Dioxide (Silver Birch Press, 1992)
- For my ancestors (Curvd H&z, 1994)
- Tern: (Returning Press, 2000)
- Brackets & Boundaries (Returning Press, 2012)
- see lex ions (Xerolage 62; Xexoxial Editions, 2015)
- Phases / Phrases (Trainwreck Press, 2019)
Anthologies
- West Coast Seen, Jim Philips Brown, ed. (Talonbooks, 1969)
- The Cosmic Chef, bpNichol, ed. (Oberon Press, 1970)
- I Am A Sensation, Gerry Goldberg & George Wright, eds. (McClelland & Stewart, 1971)
- New Directions in Canadian Poetry, John Robert Colombo, ed. (Holt, Rinehart and Winston of Canada, 1971)
- Four Parts Sand, Michael Macklem, ed. (Oberon Press, 1972)
- W)here?: The Other Canadian Poetry, Eldon Garnet, ed. (Press Porcepic, 1974)
- The Last Blewointment Anthology, Volume I, Bill Bissett, ed. (Nightwood Editions, 1985)
- Vancouver Poetry, Allan Safarik, ed. (Polestar Press, 1986)
- Judith: Women Making Visual Poetry: a 21st Century Anthology, Amanda Earl, ed. (Timglaset Editions, 2021)
See also
External links
- "Abstract / Concrete #1: Judith Copithorne (By derek beaulieu)"
- "Ian Whistle on Judith Copithorne"
- "Squaring the vowels - On the visual poetry of Judith Copithorne" - Interview by Gary Barwin, October 23, 2013
- "UbuWeb Visual Poetry: Judith Copithorne"
- Ruins in Process, "Vancouver Art in the Sixties"
- Ruins in Process, "Judith Copithorne's Sketchbook"
- ditch, poetry magazine, "Judith Copithorne"
- "Giantesses: Gadd, Copithorne, Rodin & Robertson" & "Concrete Vancouver"
- "And blood poured down"
- "Copithorne, Judith" Explorations in Media Ecology, Volume 18, Number 3, 1 September 2019, pp. 307-316(10)
- Judith Copithorne An Introduction
Notes and References
- Web site: Tish Group . 2022-07-26 . Oxford Reference . en .
- Web site: abstract-concrete-1 . Beaulieu . Derek . December 12, 2012 . Lemonhound . October 28, 2018 . Her exemplary work from the 1960s and 1970s integrates a daily diaristic practice (especially in Arrangements) that documents a domestic space centered on meditation and community. 1969's Release consists of a series of wisp-like ethereal hand-drawn texts that move through gestural fragments and slights of handwriting accumulated into florid yogic texts that move between mandala and map. The suggestion that her pieces are drawn and not written and are hyphenated poem-drawings speaks to a textual hybridity which places looking on the same plane as reading. With Arrangements, Runes and Release Copithorne creates a visual poetry of looking and reading the domestic and the community..
- Book: Binney, Earle. 1972. Four Parts Sand. Ottawa. Oberon Press. Introduction. 978-0887500541.
- Web site: On Judith Copithorne . Whistle . Ian . April 2017 . many gendered mothers . October 28, 2018.
- Web site: Talonbooks.com/authors/judith-copithorne . Talonbooks.
