洛爾娜·克羅齊(Lorna Crozier) 1948年生於沙省激流市。她先後就讀于沙省大學、女王大學和阿爾伯塔大學，並於1980年獲得藝術碩士學位。畢業後曾擔任高中英語教師和督學數年，並在班弗藝術學校、沙省夏令藝術講習班、紅鹿學院作家班、UBC騰湧寫作講習班、聖賢山采風及賽切爾特夏令創作節等處主講文學創作。她還擔任CBC電臺編審及藝術欄目主播。1980年任激流市杉樹山社區學院、1983年在女王公立圖書館及1989年在多倫多大學擔任駐校/駐館作家。她還在多倫多及勒斯布里奇的多間高校及道格拉斯學院擔任短期駐校作家，其間曾獲加拿大藝術理事會的基金資助。她1986-1991年間在沙省大學任教，目前以傑出教授身份執教于維多利亞大學寫作系。2003年出任系主任。2004年女王大學授予她榮譽博士學位，以表彰她對加拿大文學的貢獻。2002年5月，她在沙省省長為伊利莎白女王一世舉辦的聯歡會上作了御前演出。

 

著作發表

 

出版書籍包括：

《內心即是天空》(Inside Is the Sky, Thistledown Press, 1976);  

《烏鴉的黑色歡樂》(Crow's Black Joy, NeWest Press, 1979);  

《人類及其他獸類》(Humans and Other Beasts, Turnstone Press, 1981);

《再也不是兩個人》 (No Longer Two People, 與派翠克.萊恩( Patrick Lane)合著, Turnstone Press, 1981);  

《天氣》(The Weather, Coteau Books, 1983);  

《花園依舊》(The Garden Going On Without Us, McClelland & Stewart, 1985, 1986, 1988, 1990, 1993年重印);  

《肉身天使，沉默天使》(Angels of Flesh, Angels of Silence, McClelland and Stewart, 1988,  1989, 1993年重印);

《鷹的發明》(Inventing the Hawk, McClelland and Stewart, 1992, 重印於1993年);

《在光中相聚》(Everything Arrives at the Light, McClelland and Stewart, 1995);

《救恩》(A Saving Grace, McClelland and Stewart,1997);

《終身難舍》(What the Living Won't Let Go, McCelland and Stewart, 1999);

《光的次經》(The Apocrypha of Light, McClelland and Stewart, 2002);

《翼骨》(Bones in Their Wings, Hagios, 2003);

《石磨》(Whetstone, McClelland and Stewart, 2005)。

2005年春出版《第一個詞語之前》 (Before the First Word)。這是一部精選詩集，由Wilfred-Laurier Press出版社出版，附有批評論文和作者後記。除了詩歌之外，她還著有非虛構類文集，並編輯了兩部合集：《欲念七音》(Desire in Seven Voices, Douglas & McIntyre, 2002)和《沉迷：獸腹書箋》(Addiction: Notes from the Belly of the Beast，與派翠克.萊恩合編, Greystone Books, 2001)。她與派翠克.萊恩還編輯了兩部加拿大青年詩人詩選《吐火者》 (Breathing Fire, Harbour, 1999)及《吐火者續輯》(Breathing Fire 2, Nightwood, 2004)。

 

獎項

 

2004年，洛爾娜·克羅齊獲女王大學頒發的榮譽博士學位，以表彰她對加拿大文學的貢獻。同年11月，她被維多利亞大學評選為傑出教授。

 

2000年，《終身難舍》獲Dorothy Livesay卑詩省最佳詩歌獎。1996年《在光中相聚》獲Pat Lowther加拿大女作家最佳詩歌獎。

 

《鷹的發明》獲1992年度總督獎之詩歌獎、Pat Lowther加拿大女作家最佳詩歌獎及加拿大著作人獎之詩歌獎。《天氣》、《烏鴉的黑色歡樂》和《肉身天使，沉默天使》都曾獲沙省詩歌獎。《花園依舊》和《肉身天使，沉默天使》曾或總督獎提名。她曾獲1987年度CBC全國創作大獎賽第一名。她與派翠克.萊恩合著的廣播劇《智利》獲得了1987年度全國廣播獎之加拿大最佳公共廣播節目獎，並獲得了國際加百列獎(Gabriel Awards)的榮譽提名。

 

个人网站

 

https://www.lornacrozier.ca/

　　Genevieve BeningerLorna Crozier was born in 1948 in Swift Current, Saskatchewan. She attended the Universities of Saskatchewan, Regina and Alberta, where she received an M.A. in 1980. For several years she taught high school English and worked as a guidance counsellor. She has taught creative writing at the Banff School of Fine Arts, the Saskatchewan Summer School of the Arts, the Red Deer College Writers on Campus Program, U.B.C.'s Booming Ground, the Sage Hill Experience, and the Sechelt Summer Writing Festival. She has also worked as a reviewer for CBC radio and as an arts show host. In 1980 she was the writer-in-residence at the Cypress Hills Community College in Swift Current; in 1983, at the Regina Public Library; and in 1989 at the University of Toronto. She has held short-term residencies at the Universities of Toronto and Lethbridge and at Douglas College, and has been the recipient of Canada Council Arts grants. She taught at the University of Saskatchewan from 1986-1991 and presently teaches as a Distinguished Professor in the Department of Writing at the University of Victoria. In 2003 she was appointed Chair of that Department. The University of Regina awarded her an Honourary Doctorate in 2004 for her contribution to Canadian literature, in May, 2005 she gave a command performance at the Saskatchewan Lieutenant Governor's Gala ConcertforQueenElizabethI.
　　
　　PUBLICATIONS
　　
　　Her books include: Inside Is the Sky, (Thistledown Press, 1976); Crow's Black Joy, (NeWest Press, 1979); Humans and Other Beasts,(Turnstone Press, 1981); No Longer Two People, (co-written with Patrick Lane, Turnstone Press, 1981); The Weather, (Coteau Books, 1983); The Garden Going On Without Us, (McClelland & Stewart, 1985, reprinted 1986, 1988, 1990, 1993); Angels of Flesh, Angels of Silence (McClelland and Stewart, 1988, rpt. 1989, 1993), Inventing the Hawk (McClelland and Stewart, 1992, rpt. 1993), and Everything Arrives at the Light, (McClelland and Stewart, 1995, A Saving Grace (McClelland and Stewart,1997. What the Living Won't Let Go, (McCelland and Stewart, 1999), The Apocrypha of Light, (McClelland and Stewart, 2002), Bones in Their Wings (Hagios, 2003), and Whetstone (McClelland and Stewart, 2005). In the spring of 2005, Before the First Word, a special selection of her poems with a critic's essay and an afterword by the poet was published by Wilfred-Laurier Press. In addition to poetry she has written nonfiction essays and has edited two collections: Desire in Seven Voices (Douglas & McIntyre, 2002) and Addiction: Notes from the Belly of the Beast (ed. with Patrick Lane, Greystone Books, 2001). She and Patrick Lane also edited two anthologies of young Canadian poets, Breathing Fire and Breathing Fire 2 (Harbour, 1999; Nightwood, 2004).
　　
　　AWARDS
　　
　　In June, 2004, Crozier was awarded an honourary Doctor of Laws from the University of Regina for her contributions to Canadian literature. In November of the same year she received a Distinguished Professor Award from the University of Victoria.
　　
　　In 2000, What the Living Won't Let Go received the Dorothy Livesay Award for the best book of poetry by a British Columbia writer, and in 1996 Everything Arrives at the Light received the Pat Lowther Award for the best book of poetry by a Canadian woman.
　　
　　Inventing the Hawk received the Governor-General's Award for the best book of Canadian poetry for 1992, the Pat Lowther Award for the Best Book of Poety by a Canadian Woman, and the Canadian Authors' Award for the best book of Canadian poetry. The Weather, Crow's Black Joy and Angels of Flesh, Angels of Silence were winners of Saskatchewan poetry awards, and The Garden Going On Without Us and Angels of Flesh, Angels of Silence were both nominated for the Governor General's Award. She received first prize in poetry in the 1987 CBC National Writing Competition. With Patrick Lane she was the writer of the radio script Chile which won the National Radio Award's Best Canadian Public Radio Program for 1987 and which received an honourable mention in the international Gabriel Awards.
　　
　　INTERNATIONAL AND NATIONAL RECOGNITION
　　
　　As well as reading at Canada's literary festivals, from Toronto to Moose Jaw to Vancouver, Crozier has been an invited guest at literary festivals across Canada and in South Africa, England, France, Italy, Chile, the former Yugoslavia, Malaysia, Australia, and the United States, including at Princeton University. Her poetry has been translated into several languages including Mandarin Chinese, Spanish, Serbian, Croatian, Italian and French. For the last thirty years her work has been published in numerous magazines such as Saturday Night, The Malahat Review, Southern Review, Prairie Schooner and Descant and in several anthologies that are used as university texts in Canadian literature classes, most recently The Oxford Anthology of Canadian Literature in English (ed. Bennet, Brown and Cooke, Oxford University Press, 2002), Twentieth Century Poetry and Poetics (ed. Geddes, Oxford University Press, 1999) and 15 X 3 (ed. Geddes, Oxford University Press, 2000).
　　
　　EXCERPTS FROM REVIEWS
　　
　　Margaret Laurence described her as "a poet to be grateful for." Ed Dyck in NeWest Review wrote, "...she is a passionate writer...a ruthless craftswoman"; Marya Fiamengo in Canadian Literature called attention to her "...felicity of language, depth of feeling, and a compassionate compelling vision...."
　　
　　Catherine Hunter in Prairie Fire wrote, "The Garden Going On Without Us touches on a myriad of themes and moods, a series of tight bright knots tied together by the poet's double gift: keen insight into the human heart coupled with a love of language for its own sake. This is a real reader's book, unique in its accomplishment of being both profound and accessible." Of Angels of Flesh, Angels of Silence, Diana Relke wrote, "Lorna Crozier is one of the best poets writing in Saskatchewan today. The precision of her images places her within the local tradition, while her concern with the articulation of female experience--especially sexual experience--identifies her with a wider Canadian tradition that includes the work of Dorothy Livesay and Margaret Atwood. As suggested by the prizes Crozier received for several of the poems contained in it, Angels of Flesh, Angels of Silence is a significant contribution to that tradition." Of Inventing the Hawk critics have written: "Breathtakingly down-to-earth and reassuringly lyrical, new poems by Lorna Crozier are always a reason for rejoicing. At the heart of this volume is an elegy for her father, but the overall subject matter--from "Getting Pregnant" to "Plato's Angel"--has the usual Crozierian sweep."
　　--Editor's Choice, The Globe and Mail
　　
　　"Books like this become people. And can change a life."
　　--Doug Beardsley, The Victoria Times Colonist
　　
　　"Stumbling onto a Lorna Crozier poem is like running into a tropical rainforest on the Prairies."
　　--John Oughton Books in Canada
　　
　　"Inventing anything requires imagination, growth and tenacity. All three are part and parcel of Lorna Crozier's most recent literary invention--140 pages of poetry that sweep readers from flights of fancey to down-to-earth reality. Inventing the Hawk contains Crozier's best work."
　　--Donalee Moulton, CM
　　
　　"The tradition of writing lyric poetry is very much present in Lorna Crozier's Inventing the Hawk, and is revitalized. Many of her poems have the oracular quality of Frederico Garcia Lorca or, in her angel poems, of another Spanish poet, Raphael Alberti. Marry this quality with a gritty prairie realism, and you have a new and vivid poetry of astonishing freshness."
　　--Mary di Michele The Montreal Gazette
　　
　　From reviews of Everything Arrives at the Light
　　
　　"Crozier has a wonderful narrative voice and many of her poems feel like whole stories told in a few breaths. All of which makes this book [Everything Arrives at the Light] hard to put down."
　　--Stephen Osborne, Geist
　　
　　"This new book is full of hard knowledge; the poems are suffused with an awareness of dissolution and death, and of the irretrievably lost past. One comes away harrowed, for the psychic territory of many of the poems is Michael Ondaatje's hour in which 'we move small/in the last possibilities of the light.' And one comes away exalted, for despite darkness, even through darkness, Crozier glimpses the mystery of light at the heart of being...But go get the book and read it yourself. You'll be harrowed--and exalted."
　　--Mary Dalton, Books in Canada
　　
　　"Lorna Crozier's status as a poet in Canada now rivals Al Purdy's in the '60's and '70's. She is a favourite of both her fellow writers and readers-at-large, who hear her regularly on Morningside and often search out her books through several printings."
　　--Gary Geddes, B.C.Bookworld
　　
　　"These are unflinching poems, full of love and pain, in which Crozier is able to sustain the strength forged in loss. How sad and telling it is that it is human sorrow that brings about such human beauty."
　　--Rhea Tregebov, Quill and Quire
　　
　　From reviews for A Saving Grace
　　
　　"Lorna Crozier, one of the most original poets alive....[T]his civilization is figured forth in Lorna Crozier's wonderful eloquence and wit, and by the warmth and fullness of her female sensibility, sharply perceptive yet inclusive and accepting."
　　--Kildaire Dobbs, Books in Canada
　　
　　"She successfully tugs at our hearts and makes us go in search of something greater. At the heart of Crozier's poetry, there is a recognition of gift, the magic that sings in all of us."
　　--Marty Gervais, The Windsor Star
　　
　　From reviews for What the Living Won't Let Go
　　
　　"On the cover of Crozier's book is...a worn, ivory lace nightgown hanging in an attic, bathed in a warm gold light reminiscent of sunrise--or sunset. The image foreshadows what's to come: a celebration of life's treasures and its losses; each radiant moment preserved in a language that shimmers between light and shadow. These are the poems of a woman who looks aging squarely in the eye and doesn't flinch. From the first poem, "Names of Loss and Beauty," there is a sense of the sweet anguish of gaining wisdom at the very moment we know we are growing old. ...she is superbly skilled, evoking dream and touching the heart surely and swiftly."
　　--Kate Braid, The Vancouver Sun, Apr. 24, 1999
　　
　　"As always, woven into the narrative of poems, which seem concerned with capturing the fragile beauty of everyday things, are subtley rendered insights. In the final poem, 'Wildflowers,' Crozier defines her subject with her typical eloquence; she writes of 'the heart's strange fondness for what is lost.'"
　　--Cassandra Tilson, In 2 Print, Summer, 2000
　　
　　"Nobody writes about sex and death quite like Lorna Crozier....[She] moves from colloquialism to grand idea with shocking ease. What the Living Won't Let Go maintains her poetic arc towards a passionate contemplation of detail and belief."
　　--Tanis MacDonald, Prairie Fire, Vol.21, No. 1, Spring, 2000
　　
　　CONTRIBUTIONS TO THE WRITING COMMUNITY
　　
　　Crozier began teaching writing workshops and mentoring students at the Saskatchewan Summer School of the Arts twenty-five years ago. In addition to working with young writers in the Department of Writing at the University of Victory, she has taught young and emerging writers at various summer workshops including Sechelt, the Banff School of Fine Arts, and UBC's Booming Ground. She has consulted, edited and encouraged in her role as writer-in-residence at the Regina Public Library, the Cypress Hills Community College and the University of Toronto. For several years she worked with high school students on WEIR (writers in electronic residence). She has recommended countless writers for grants, awards and graduate school, and has written numerous back-cover blurbs for books of poetry that she feels need support and encouragement. She has also written numerous book reviews for CBC radio, The Globe and Mail and various literary magazines, drawing the public's attention to Canadian writing.
　　
　　In 1995, with Patrick Lane, she edited an anthology of poetry for young writers under thirty. Called Breathing Fire and published by Harbour Press, the book sold thousands of copies and introduced the thirty-one new Canadian poets from across the country to the reading public. For most of those included, this was their first major publication, but shortly after, many published their first books and garnered major awards, including Karen Solie (just nominated for the Griffen), Stephanie Boster (winner of the Governor-General's Award), and Suzanne Buffam (winner of the CBC national writing competition). All of them have credited this anthology with giving them a boost of confidence and a kick-start to their writing careers. The second edition, Breathing Fire 2, will be published in the spring of 2004. Like the last anthology, this one will expose over thirty new writers to the Canadian literary world. In 1999 she introduced three "proteges" in Breaking the Surface, an anthology in which five established writers edited the work of these younger writers and wrote a biographical sketch and an analysis of their poetry.
　　
　　Crozier has been on the executive of the Saskatchewan Writers' Guild and The League of Canadian Poets. She was twice poet laureate for Peter Gzowski's golf tournaments for literacy, and she has given benefit readings for such organizations as the SPCA, the BC Land Conservancy, the Dominion Brook Garden Society, and PEERS, a group committed to helping prostitutes get off the street. She has read and given talks on the value of poetry in high schools, libraries and universities across the country, able to relate her topic to any age group. Because of the accessibility of her poetry, her passion and her belief in the power of words, she has been a frequent guest on CBC radio, their "poet laureate," recently requested to write two poems to read on air: one honouring Pierre Elliott Trudeau upon his death and another praising the Canadian Women's Hockey Team on the eve of their battle at the Olympics. As poet and friend, she was also asked to speak of Peter Gzowski on "This Morning" with Shelagh Rogers on the day after his death. Wherever she has read she has raised the profile and reputation of poetry.