13 January 2009—Winnipeg, Manitoba

A spirited book review by Adelia Neufeld Wiens, Coordinator of Student Advising at Canadian Mennonite University in Winnipeg, appears in the December 2008 (Vol. XXXIV, No.4) of the Mennonite Historian. Here’s the review in full…

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Sam Reimer was born in Steinbach in 1949, lived in Kansas from the age of 15 till early adulthood, and then settled in Vancouver where he remains. This lovely book reflects a lifetime of writing and polishing by an eccentric, delightful poet and artist.

Reimer describes the contents thus: ”Some are autobiographical, some fictitious, some more serious, some angrier, some more sorrowful than others—ranging from the profane to the sacred, and en masse erring on the side of oddness.” I appreciate the summary except for the reference to “oddness.” Some of these poems are quirky, maybe, but if this is odd, then the world has worn me down and I just don’t see it!

Everything in this volume is burnished, from the charming introduction by Robert L. Peters to the biography and colophon at the end. This book will delight many, both those on the edge of faith and those in its warm, comfortable middle.

Divided into “chapters” with titles such as “Backroads Magic,” “Anarchies of Love,” and “Jesus Chrystals,” the poems are easy to read and wonderful to savour.

There are surprises. The art and graphic design complements the text, and sometimes enchants. On one page, I read the poem and then looked again. Printed on an angle, in lightly screened large font are these words: “To treat a man as a beast in a cage/serves only a greater beast to enrage.” An explanation follows: “This couplet got me disqualified from jury duty, among some other lines.” I could have so easily missed this!

Reimer’s observations of nature offers wonderful descriptions. “Impression: Along Molson Way,” concludes Give the earth a crack at the city/ & gardens grow in gangs,/daisies/ & morning-glories run in packs.

His descriptions of places and feelings are evocative. In “Dunster Sketch,” calligraphies/ from the moon/ shine blue-/ white with tall/ dark silhouettes/ poised for dancing/ against the sky/ across the snowdrift floor/ Bluejay night broods mellow/ moods in the valley.

Reimer is divorced. His pain at that is expressed in several poems, including “Liz Lost:” & where are you/ my shadow love/ my ring around the/ dark side of the moon you

There is haiku: Japanese woman/ in her early twenties a/ blossom breeze passing

And there is faith. Reimer’s metaphor for faith “Holding Patterns” concludes But we’re in a holding/ pattern, symmetrical, safe,/ & our pilot sees in more/ than a few dimensions,/ has eyes in his palms,/ radar under his hat,/ & when we land we’ll get to/ shake his hand & ask/ Him how it really went.

This small volume is a treasure. Reimer has been playing with words since he discovered Shakespeare as a child, and we are fortunate that this collection has finally been published.

“Within Word-Within-World Play” sums it all up:

As the work of poetry
Began with word-play so the humdrum-drudgery of editing
Must be made palatably entertaining
Ending finally as it began
Within
Word-Within-World Play

Read this and enjoy. Words. Play. World.

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(Thanks to Dr. Lawrence Klippenstein).

23 October 2008—Steinbach, Manitoba

Today’s issue of The Carillon (published in Steinbach, Sam W’s birthplace) included a well-written piece by Doris Penner re: her impressions of Gray Matter Graffitti and the poetry reading and book-signing event at the Mennonite Heritage Village museum two weeks ago. Read or download a PDF of the article (176 KB) here.

11 October 2008—Steinbach, Manitoba

Sam W. returned to his birthplace yesterday for a poetry reading and book-signing event at the Mennonite Heritage Village museum in Steinbach. An appreciative audience (including the Bard’s parents and brother) was in attendance, and “avuncular Sam” held forth in style—for the most part more sacred than profane. Earlier in the day he made appearances on both Mix96 and CHSM radio. Thanks to Dr. Lawrence Klippenstein of Steinbach for all local arrangements and to the museum for the evening’s fine venue.

Dr. Lawrence Klippenstein introduces… you know who.

If you’re in the vicinity of Victoria, you won’t want to miss this… plan to attend ‘A Night of Live Art and Good Coffee’ in the cozy lounge of the church by the lake on Friday, 7 November, 7pm — 5363 Patricia Bay Highway (across from Elk Lake, travel instructions here). Father John Hainsworth, the priest at All Saints of Alaska Orthodox Church in Victoria (aka Sam. W’s son-in-law Kaleeg) is hosting the evening—and it’s likely the Bard’s reading will be featured on one of the popular Paradosis podcasts.

9 October 2008—Winnipeg, Manitoba

You can now experience a selection of poems read by the Bard on YouTube, here. Enjoy…

8 October 2008—Morden, Manitoba

Morden’s Pembina Hills Arts Centre (in the town’s splendid old historic clock tower-turned-gallery) was the venue for last night’s reading and book-signing. Arranged by local impresario Grace Warkentin (a resident of this prairie town for the past four decades), a small but enthused group of attendees took in Sam W.’s readings from Gray Matter Graffitti (along with some snacks and libations).

Sam W. Reimer looms large at the historic Pembina Hills Arts Centre.

7 October 2008—Winnipeg, Manitoba

The Bard really shone last night at Winnipeg’s official book-launch and poetry reading at McNally Robinson’s Prairie Ink Restaurant at Grant Park. An appreciative audience lingered afterwards as Sam W. signed books and answered questions from those in attendance. A selection of the night’s poems may now be viewed on YouTube, thanks to Adrian Shum (more about this evening here).

Images: Sam W. Reimer with “agent provocateur” Grace Warkentin; the Bard holding forth in the Prairie Ink Restaurant.

1 0ctober 2008—Winnipeg, Manitoba

Travel details are confirmed, and the Poet is making final preparations for his trip to the prairies. For anyone in the Manitoba area, here are the dates, times, and venues of Sam W. Reimer’s confirmed book launches, poetry readings (and signings) during the second week of October:

Winnipeg – 8pm on Monday, 6 October,
McNally Robinson’s Grant Park store,
(The Prairie Ink Restaurant).

Morden – 7pm on Tuesday, 7 October,
Pembina Hills Arts Centre (wine & cheese, etc.).

Steinbach – 7:30pm on Friday, 10 October,
Mennonite Heritage Village museum.

Look for a book review by Doris Penner in The Carillon later this week… and we’ve heard rumours that Sam W. (who many around Steinbach might remember as “Wayne” Reimer) might be heard on the radio some time later next week—on CHSM (more information will be posted here as it becomes available).

17 September 2008—Steinbach, Manitoba

Sam W. Reimer (the second son of John K. & Leona Ruth Reimer, and formerly known as ‘Wayne’ to most in these parts) will be giving a poetry reading and signing books in his birthplace, Steinbach, at 7:30 pm on Friday, October 10th. Appropriately, the Steinbach book-launch for Gray Matter Graffitti will be at the Mennonite Heritage Village museum (situated on Hwy. 12, 1km north of the town of Steinbach). This will be your chance to encounter the bard in person, buy a book, and get it signed… Sam W. has many relatives in the Steinbach area who are sure to “spread the word.”

And speaking of relatives, a special thanks to Lawrence Klippenstein for local arrangements…

Reverend Jake Letkemann of Winnipeg has written a book review…

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Gray Matter Graffitti
By Sam W. Reimer
Robert L. Peters, ed.
Circle Design Inc., 214 pages
$16.00

First, a note of gratitude. If Lawrence Klippenstein had not asked me to review this book of some 200 short poems, I would have been bereft of considerable pleasure, some inspiration and at times befuddlement! Thanks, Lawrence.

Secondly, a disclaimer. You probably expect a review. When Lawrence requested that, I referred him to a contemporary poet and English professor, but he quickly compromised and agreed to settle for some “impressions” or something like that. What you get here is not a thorough book review, but some impressions and observations.

The poems were written during several decades, as Reimer born in 1949 in Steinbach, Manitoba, lived in this province, in the state of Kansas, in British Columbia, did various types of work including working for the Winnipeg Supply and Fuel Company, a spell with a railway section crew and writing for Maranatha Free Press in Vancouver, married, had two children, was divorced and now lives alone in Vancouver. His comment about the poems is pertinent. He writes in part, “Some are autobiographical, some fictitious, some more serious, some angrier… some elegies, some eulogies, and some just plain better than others.” (p.5) Peters has grouped them under eight helpful headings.

“The Relay” (pp. 44-45) is a fine example of vivid description of a rustic scene. As a farmer’s plow disturbs a home of young rabbits, a hawk spies a meal. As it swoops down

hawk is surprised by first one then

both of them–the parents of the small prey.
Dashing, leaping, lunging, two bodies possessed
by a passion of blood, they race this relay

of life and death. The hunter can’t
land long enough even to kill quickly, or
for a morsel torn off on his way. Wherever

he would touch down, one or the other
sudden warrior is right there,
blazing acute angles, incisors poised like blades

until the hawk gives up and the rabbits soothe their young.

A sketch of a rabbit accompanies the poem. Many poems are enhanced by either sketches or photographs.

Reimer and his wife separated in 1981. The poem, “July 10, 1981″ (p. 98) is an example of an autobiographical poem loaded with poignant memories. Here is part of it.

. . . .

You & I stood on the gravel
shoulder at a corner of crossroads
in the cloudless noontime daze

& held each other in what
you will’d our
last embrace…

. . . .

In the mountainous noontime hush
a stranger stepp’d on board the bus
a steel door seal’d the end of us.

Reimer toys with a variety of styles. “4 one who” (p.115) illustrates one of these styles where he carefully arranges words and letters to enhance the feeling of aloneness. A sketch of a caged bird accompanies the poem.

4 one who
dotes on
sol
i
tude
i
sure do hate
2
wake or dine
al
one
i
sure do hate
my
by
myself
self.
2
bloody much
of my
time

“The Uni-Point: A Novelty” (p. 163) is a frivolous, playful thing using “point” sixteen times, punning on the different meanings. “To Certain Politicians” (U Know Who U R) (p.147) is a bitter attack by the speaker on some politicians ending with,

Slugs & worms
don’t make me sick—
U do.

One is often reminded of other poets and poems. For example, “First Snowfall in the Forest” for kids & critters (p. 137) reminds one of Robert Frost’s, “Stopping by Woods on a Snowy Evening.” However, the apparent simple description in Frost’s poem leads to a philosophical observation, whereas Reimer’s remains pleasantly light as though intended for “kids and critters.”

Several war poems (examples on pp. 149-153) illustrate the speakers’ impatience with war and violence. However, unlike Wilfred Owen’s powerful poems gurgling with blood and bitterness, Reimer’s poems remain more satirical and light in both style and content. For example at the end of “Freedom March: A Novelty,” where recruits are drilled with repetetive, “2 3 4″ as they “march for freedom,” one innocent young recruit is finally permitted a question and he asks:

Sir, why can’t we dance
for
Freedom?

I’m tempted to continue, but nobody would print it, and if they did, you wouldn’t read to the end. Therefore get the book and feast on the real thing!

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Jake Letkemann