In the Standard Model of Big Bang Cosmology, about 300,000 years after its birth the temperature of the universe had dropped to the point where the first simple elements were formed, matter became cool enough for light to at last move freely, and the universe itself became transparent to radiation. This transition during the infancy of the universe is called the “surface of last scattering.”
These poems map out such zones of last interaction. In the texts, the visual and semantic vectors of authorial intention run headlong into the messy and mundane material stuff of everyday life. In the apparent cause and effect of the resultant textual interactions between writer and reader, each influences the consequent shape, direction and possible outcome of the other. Any meaning is therefore entirely contingent upon the readers’ engagement of the text, without which it is uncertain these texts exist at all. From his ongoing long poem “The Julian Days,” framing abstract and representational takes on life and death with a calendar system that is cumulative rather than cyclical; to poems that respond to the auras of the visual and the aural that envelope language; to a poetic narrative enacting a history of what Charles Olson called “the human universe”; McElroy engages what words mean. There are no cause-and-effect events in the universe, he reminds us—there are only interactions.

Born in Metz, France, poet Gil McElroy grew up on air force bases in Canada and the United States. He studied English Literature at Queen’s University in Ontario. His poems and other works have been published in countless periodicals throughout North America since the late 1970s; issued in a number of self-published chapbooks, broadsheets, and one-of-a-kind book works; and anthologized in Groundswell: best of above/ground press, 1993–2003 (Broken Jaw Press, 2003), Side/Lines: A New Canadian Poetics (Insomniac Press, 2003), and Written in the Skin (Insomniac Press, 1999). He currently lives in Colborne, Ontario with his wife Heather.

McElroy has also been an independent curator and freelance art critic for 20 years, organizing exhibitions for public art galleries and museums in Canada and writing art criticism for magazines in Canada, the United States and Australia. A selection of his catalogue essays and reviews was published as Gravity & Grace: Selected Writing on Contemporary Canadian Art (Gaspereau Press, 2001) and in the anthology CRAFT Perception and Practice: A Canadian Discourse (Ronsdale Press, 2002). His show ST. ART: The Visual Poetry of bpNichol pays tribute to one of the great poets of the twentieth century. Originally mounted at the Confederation Centre Art Gallery & Museum in Charlottetown, P.E.I. in May through October, 2000, it later moved to the Art Gallery of Nova Scotia before touring the country throughout 2001. McElroy’s curatorial essay accompanying the exhibition also won the Christina Sabat Award for Critical Writing in the Arts.

Gil McElroy's profile page

• Long-listed, ReLit Award for Poetry

“A master of the craft … [McElroy] is very, very intelligent and his ear is infallible.”
— Arc