Description
In her first collection of new poems in a decade, Robyn Sarah chronicles the pandemic years with quiet wisdom and her flair for meshing the familiar with the numinous.
We’re Somewhere Else Now moves with ease from the particular to the abstract. These are poems of grief and unexpected change, of quiet awe at the human experience. Each poem is a window for the reader to look into, “lit room to lit room,” tracking desultory days of isolation and uncertainty, while also highlighting reasons to pay attention: playing with a grandchild, the rarity of a leap year, the calls of birds.
Three poems from the collection, originally published in The New Quarterly, were nominated for a 2025 National Magazine Award in Poetry.
Praise for Robyn Sarah
“[Her poems] illuminate the reader’s privacy without destroying the poet’s. And elegant play is going on even in the most acutely painful moments of clarity, a play of pure energy.”
—Margaret Avison, Canadian Women Studies
“The cool delight of her poetry is to turn those subjects of routine forgetfulness into words that quiver in the heart . . . Sarah knows the language: its pressure points, its traditions, its crevices. Trained as a musician, she also understands flow and timing, when to sing and when to keep silent.”
—Mark Abley, Montreal Gazette
“So assured and musical is the hand that shaped them that these poems tend to memorize themselves, as though they had always formed part of our experience.”
—Eric Ormsby, Books in Canada
“Robyn Sarah’s My Shoes Are Killing Me is a lyrical power. A richly inventive, precise, meditative collection . . . This is a transformative work that continuously surprises the reader.”
—Jury citation, Governor General’s Award for Poetry 2015
“[Hers] are the sort of metaphors that poets everywhere dream of conjuring. Metaphors that in their clarity of sense, image, and sound create spaces for meaning to reside — meaning that is elusive or otherwise impossible to articulate, but that leaves the reader with a heightened sense of recognition.”
—Anita Lahey, The Walrus
