$3000.00 marketing and publicity budget Publicity and promotion in conjunction with the author's speaking engagements
Sachiko Murakami's first poetry collection, The Invisibility Exhibit, was a finalist for the Governer-General's Award for Poetry and the Gerald Lampert Memorial Award. She has been a literary worker for various publishers, magazines, and organizations, and is a past member of Vancouver's Kootenay School of Writing collective. She lives in Toronto where she co-hosts the Pivot Reading Series.
“a unique and thoughtfully crafted book. … Surprisingly, these
poems do not feel particularly rich in images or metaphor, but they
are bold, political, and engaging. … The poems seem to expand and
contract, looking up and around at the structures (both material
and immaterial), and subsequently looking inward … It’s clear the
poet trusts her readers to settle in, to stop reading, or to
renovate, of our own choosing.”
—The Fiddlehead
“‘Did this happen, here? Did this/ really happen to me?’ Such a
devastated hole gapes in narrative before a moment of potent
reconfiguration, and it’s quite genius of Sachiko Murakami’s new
collection, Rebuild, to pose a doubled speaker of agape grief: both
the narrator who has lost a father in troubling circumstances, and
the contemporary development-manic city itself, specifically
glass-pocked Vancouver, lamenting its gutted and guttered wholeness
(acknowledging that wholeness is a myth, yet another hole).”
—Margaret Christakos
“Murakami has quickly demonstrated a remarkable range and
ambition.”
—EVENT
“These are angry poems. Proud and angry. But smart and quirky, too,
daring us to tear up our death pledge to real estate, and rethink
our citizenship in scandalous cities. They ask hard questions about
democracy, Olympic extravaganzas, police battalions and single feet
that wash up on the beach. What is home in a state where the cost
of a house would feed whole villages for years? […] Murakami brings
us home to our senses.”
—Meredith Quartermain
“The poems in Rebuild strike at (the crack in) the heart of
Vancouver. […] Murakami’s poetry performs erasure on itself, tries
to renovate and rebuild. Something faster. Something better. Tears
out consonant and vowel, post and beam, with dishwasher, writes
elegy, writes condo, writes missing, writes return. Returns to
scaffolding, to consonant, to the letters of her dead father’s
name.”
—Nikki Reimer
“a unique and thoughtfully crafted book”
—The Fiddlehead
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