Beginning where he left off in crawlspace with “the little start I’m given, giving, that May be,” John Pass’s new poems articulate further entanglements with stasis, purpose and hope. He struggles as we all do under the weight of a world imperilled by climate change and environmental degradation. And the poems, characteristically alive with attuned observation and emotional honesty, glimpse unsettling limitations to our consciousness and conscience. This is particularly so regarding animals in the book’s central sequence, “Creation of the Animals.” Historically and geographically expansive, This Was the River is nonetheless approachably human. “Margined Burying Beetle” (winner of the Malahat Review’s Open Season Award in 2016) is an astonishing homage to the poet’s mother, one of several pieces touching upon grief and loss. There are joyous poems, too, for the births of his grandchildren, and slyly humorous asides on medical test results and poetry prizes. Pass’s affection and sorrow for the natural world is at the book’s heart, and as a whole This Was the River confirms his reputation as a poet of lyrical eloquence, masterful technique and both intellectual and emotional range.

John Pass’s poems have been published in Canada, the US, the UK, Ireland and the Czech Republic. He is the author of twenty books and chapbooks, most notably the quartet AT LARGE, comprised of The Hour’s Acropolis (Harbour, 1991), Radical Innocence (Harbour, 1994), Water Stair (Oolichan Books, 2000)—shortlisted for the Governor General’s Award—and Stumbling in the Bloom(Oolichan Books, 2005)—winner of the Governor General’s Award. crawlspace, from Harbour in 2011, won the Dorothy Livesay Poetry Prize. Forecast: Selected Early Poems (1970–1990), appeared in 2015. He lives with his wife, writer Theresa Kishkan, near Sakinaw Lake on BC’s Sunshine Coast.

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“Pass has massive talent, and all his poems, however challenging, are dense with meaning and repay close re-reading.”

Christopher Levinson, <i>The Ormsby Review</i>