September 1st at the Stratford Perth Museum, Stratford, Ontario
On Tuesday September 1st, come join us for what would have been James Reaney’s 100th birthday in Stratford at the Stratford Perth Museum. James Reaney wasknown as “Jamie” to friends and family, and we have been calling our year-long celebration of his centenary #Jamie2026.
There will be a pop-up exhibit celebrating his life and work and a chance for family and friends to share memories from his autobiographical writingand other memoirs. Later we plan to pass the mic so others can share their memories of Jamie.
Tea and coffee will be served, and of course, there will be cake!
Jamie Reaney: A Celebration When: Tuesday September 1st from 1-3pm Where: Co-operators Performance Theatre, Stratford Perth Museum Address: 4275 Huron Road, Stratford, Ontario, N5A 6S6 Tel: 519-393-5311 Admission is by donation.
Kelly MacIntosh, the Museum’s Managing Director, has a special request if you are planning to come:
Planning to join us? An RSVP isn’t required, but it helps us plan for the afternoon. And if you have a memory, story or favourite excerpt from Jamie’s work you’d like to share, let us know: E-mail: kelly@stratfordperthmuseum.ca
Collections Coordinator Reagan MacMillan with James Stewart Reaney at the Stratford Perth Museum, August 2026July 1967 in Stratford, Ontario: The Alphabet Players with the marionettes from Apple Butter, James Reaney (centre, seated) is holding some of the Red Riding Hood marionettes. Allan Stratton (far right) is holding Apple Butter, and James Stewart Reaney (second in on the left) is holding Solomon Spoilrod.August 1965 in Leith, Ontario: James Reaney holds marionette Apple Butter with his children James Stewart, John, and Susan.Jamie Reaney with school friends at a birthday party in 1935 near Stratford.James Reaney (far right) with his cousins, Elsie, Kathleen, and Mary, Summer 1930 near Stratford, Ontario.James Reaney feeding the chickens (age 5) with his cousins Mary and Elsie (Summer 1931)
James Reaney: Listening to the Wind at Central Branch, September 3
Join us on Thursday September 3, 7:00 pm for a special screening of James Reaney: Listening to the Wind at London Public Library, Central Branch. This event is part of #Jamie2026, our year-long celebration of James Reaney’s centenary.
Directed in 1996 by Mark McCurdy of Lockwood Films [1], the film is both a biography and an exploration of James Reaney and his work, and features interviews with James Reaneyas well as with many who knew him and worked with him: Western University colleagues Richard Stingle and Stan Dragland, director Keith Turnbull and actor Jerry Franken, director Marti Maraden, composer John Beckwith, and historian and former Listeners’ Workshop member Hilary Neary.
James Reaney in 1995 in London, Ontario. Photo courtesy the London Free Press.
In a 1995 interview in the London Free Press, James Reaney said that he wrote The Donnelly Trilogy because “We have to search for the pivotal stories that constitute our own myths and legends. Your country and your community dies if you don’t tell tales about its heart and soul.”[2]
Nancy Johnson, the film’s producer, will be on hand to answer questions about the making of the film.
James Reaney: Listening to the Wind (1996 by Lockwood Films)James Reaney at the farm near Stratford, 1996.
Where: London Public Library Central Branch, 251 Dundas Street, London, Ontario.
Summer 1937: James Reaney (age 10) picking gooseberries with his cousins in Erin Township in Wellington County, Ontario.
The “Berry-picking” scene from Act I of James Reaney’s 1967 play Colours in the Dark uses a pattern poem in the shape of a family tree pyramid to help the berry-pickers bring back the lost child.
8. BERRY-PICKING
MOTHER: The Story of the Berry-Picking Child and the Bear.
SCREEN: A child’s drawing of a berry-picking woods.
PA: This happened early near the Little Lakes.
KIDS: Darting about with berry pails
Look at the raspberries Wild Gooseberries Huckleberries Over here! Look at the raspberries Wild currants. Don’t eat them. They’re poison. Bunch berries (ugh!)
One child is left busily picking. Her name is SADIE.
GRAMP: as a bear. Enters and lifts up a child. Child my cubs need nurse. I need your blood. SADIE: Wouldn’t blood-red berries do instead? GRAMP: No. Flesh must be my bread.
SADIE: Put me down Mr. Bear. I do thee dread.
Bear runs off with child, kids enter shrieking.
KIDS: A bear ran off with Sadie! A bear ran off with Sadie! And it takes a lot of people to produce one child.
They form a family tree pyramid with a reappearing Sadie.
KIDS:
It takes Two parents Four Grandparents Eight Great grandparents Sixteen Great great grandparents Thirty-two Great great great grandparents Sixty-four Great great great great grandparents One hundred and twenty-eight Great great great great great grandparents Two hundred and fifty-six Great great great great great great grandparents Five hundred and twelve Great great great great great great great grandparents One thousand and twenty-four Great great great great great great great great grandparents
It would take over a thousand people to do this scene: at Listeners’ Workshop we did it with thirty-two people: the children here are suggested by a triangle arrangement, the thousand ancestors behind each human being. Have one group of players in charge of chanting “Great great” & “grandparents”.
SADIE: Are you there 1,024 ancestors?
A feeble rustle
Are you there 512 Are you there 256
Are you there 128
Sound gets louder, less ghost-like and more human.
Are you there 64
Are you there 32
Are you there 16
More recent ancestors step forward and say firmly and clearly what we have only dimly heard: “We’re here.”
Are you there 8
Are you there 4
Are you there Mother and Father?
GRAMP, MA and PA step forward and establish the next scene as the kids fade away
James Reaney’s “I know an experience” is the 24th brush stroke from the multi-part poem “Brush Stokes Decorating a Fan.”
(x) I know an experience That brings my 2 butterfly wings Tight together Then open Now shut Dull blur Sudden bright. Over the years our selves Have been blended By all this together, Pleated & unpleating, Opening & closing, Tight together, Loose apart— Two sides of a breath
Stephen Holowitz (piano), Sonja Gustafson (soprano), Oliver Whitehead (guitar), and Ingrid Crozman (flute), November 15, 2020 at Wordsfest in London, Ontario.
Thanks to Josh Lambier and the Words Festival for sharing this music-poem marvel from the virtual 2020 James Reaney (1926-2008) Memorial Lecture. This is an online event in #Jamie2026, the year-long celebration of James Reaney’s centenary. James Crerar (Jamie) Reaney would have been 100 years old on September 1st.
To celebrateNational Poetry Month, here is the “April” eclogue from James Reaney’s long poem A Suit of Nettles.
April
ARGUMENT: With Duncan as judge the geese hold a bardic contest in honour of Spring.
[DUNCAN RAYMOND VALANCY]
Here is a kernel of the hardest winter wheat
Found in the yard delicious for to eat.
It I will give to that most poetic gander
Who this season sings as well as swam Leander.
The white geese with their orange feet on the green
Grass that grew around the pond’s glassy sheen
Chose then Valancy and Raymond to sing
And to hear them gathered about in a ring.
RAYMOND
I speak I speak of the arable earth,
Black sow goddess huge with birth;
Cry cry killdeers in her fields.
Black ogress ate her glacier lover
When the sun killed him for her;
The white owl to the dark crow yields.
Caw caw whir whir bark bark
We’re fresh out of Noah’s Ark;
Wild geese come in arrowheads
Shot from birds dead long ago
Buried in your negro snow;
Long water down the river sleds.
Black begum of a thousand dugs,
A nation at each fountain tugs;
The forests plug their gaps with leaves.
Whet whet scrape and sharpen
Hoes and rakes and plows of iron;
The farmer sows his sheaves.
Mr Sword or Mr Plow
Can settle in your haymow,
All is the same to Mother Ground.
Great goddess I from you have come,
Killdeer crow geese ditch leaf plowman
From you have come, to you return
In endless laughing weeping round.
VALANCY
Your limbs are the rivers of Eden.
From the dead we see you return and arise,
Fair girl; lost daughter:
The swallows stream through the skies,
Down dipping water,
Skimming ground, and from chimney’s foul dusk
Their cousins the swifts tumble up as the tusk
Of roar day
In bright May
Scatters them gliding from darkness to sun-cusp.
Your face unlocks the bear from his den.
The world has come in to the arms of the sun.
What now sulky earth?
All winter you lay with your face like a nun,
But now bring forth
From river up boxdrain underground
Fish crawling up that dark street without sound
To spawn
In our pond
Young suckers and sunfish within its deep round.
Your body is a bethlehem.
Come near the sun that ripened you from earth
Pushing south winds
Through lands without belief till its pretty birth
The faithful finds:
Fanatic doves, believing wrens and orioles
Devoted redwinged blackbirds with their calls,
Archilochus alexandri,
Melospiza georgiana,
All surround you with arched cries of Love’s triumphals.
Your mind is a nest of all young things, all children
Come to this meadow forest edge;
Put her together
From this squirrel corn dogtooth young sedge
And all this weather
Of the white bloodroots to be her skin
The wake robin to be her shin
Her thighs pockets
Of white violets
Her breasts the gleaming soft pearly everlasting.
For her limbs are the rivers of Eden;
Her face unlocks
The brown merry bear from his den,
From his box
The butterfly and her body is a bethlehem
Humming
With cherubim
And her mind is a cloud of all young things, all children.
The prize to this one goes cried eagerly some
And others cried that to Raymond it must come,
So that Duncan Goose turned to the plantain leaf
And chopped the prize in half with beak-thrust brief.
James Reaney, 1958
The third edition of A Suit of Nettles features charming illustrations by engraver Jim Westergard, available fromThe Porcupine’s Quill.
“Geese” Photo by Elizabeth Cooke (James Reaney’s mother), 1950 near Stratford, Ontario.Butterfly decoration by James Reaney, September 1947 (ink on yellow paper)
James Reaney at the farm near Stratford, Ontario in 1971 (TVO.org)
The Farm
James Reaney’s emblem poem “The Farm” (1969)
( ( ( 0 ) ) ) For more about James Reaney’s poems and a look back at the family farm where James Reaney grew up, see the 1971 TVOntario documentary “James Reaney” in the Canadian Writers series.
The Farm
There was a farm divided in two 1/2 of it surly brick maker owned swale & slough clay & stiff Into this from the western half Jutted an orchard of 50 young trees Captain Grape Arbour & Major Mulberry Angel greening trees in whitewashed trunks Roods & perches fought clayhole & swamp & the lawns won, the gravel pit’s gone Now the farm’s one.
James Reaney, 1969
(Note: “Roods & perches” are land survey measurements.)
Poems Written About The Donnellys To Assist The Renewal of The Town Hall at Exeter, Highway #4 *
I Around Borrisokane, in Eire, the roads twist After cowherds with willow gads, after wise woman’s spells, After chariots and the widest go-around found in a mare’s skin. But in Biddulph, Canada, in Mount Carmel’s brooder stove, St Peter’s fields, The roads cross at right angles, a careful Euclidean net, roods, rods Spun by surveyors out of Spider stars – Mirzak, Spicula, Thuban, Antares. Like serpents, twitchgrass roots, dragons – the Irish roads twist, The old crooked roads twist in the cage of the straight new.
II We were horsemen, dressed well and from my brother’s entire horse, From his entire horse came the colt fast fleet hoofhand with which We seized and held onto the path through Exeter down to London. We lifted the hills, creeks, rivers, slaughterhouses, taverns, We lifted their travellers and those who were asleep when we passed And those who saw us rattle by as they plowed mud or whittled. We lifted them like a graveldust pennant, we swung them up and out Till they yelled about wheels falling off, unfair competition, yah! And we lie here now – headless, still, dead, waggonless, horseless, Sleighless, hitched, stalled.
III As the dressmaker hems my muslin handkerchiefs, The night the Vigilantes burnt down one of their own barns, As I sit waiting for a cake to bake and my gentle niece with me I realize I am not doing what you want me to do. You – bored with your Calvinist shoes chewed to pieces By streets of insurance, streets of cakemix, packages, soap, sermonettes. You want me to – you project a more exciting me on me. She should be burning! Clip! Ax! Giantess! Coarse, I should curse! Why should I accept these handcuffs from you?
James Reaney, 2005
* Respectively, the three speakers of these poems are William Porte, the Lucan postmaster, Tom Donnelly and Mrs. Donnelly.
“Entire Horse” is from Souwesto Home, a collection of James Reaney’s poems from 2005 available from Brick Books.
( ( 0 ) )Listen to Jeff Culbert read “Entire Horse” and other poems from Souwesto Homehere.
All three plays from James Reaney’s The Donnelly Trilogy — Sticks and Stones, The St. Nicholas Hotel, and Handcuffs — were performed at the Blyth Festival in 2023 at Blyth’s Outdoor Harvest Stage.
“Are there any more ladies and gentlemen for Calamity Corners as ’tis sometimes called, St. John’s, Birr — my old friend Ned here calls it Bobtown, the more elegant name is Birr. Elginfield known to some as Ryan’s Corners, Lucan that classic spot if it’s not all burnt down, Clandeboye, Mooretown, Exeter and Crediton. If Ned here hasn’t sawn it to pieces, the coach is waiting for you at the front door and it pleases you.”
(Opening lines from James Reaney’s The St. Nicholas Hotel)
Summer 2023 — On the way to the Outdoor Harvest Stage on the old Blyth Fairgrounds. Photo courtesy The Blyth Festival.
James Reaney printing at the Alphabet Press print shop at 430 Talbot Street in London, Ontario (mid-1960s). Credit: London Free Press/Sun Media Corporation.
In late summer 1965, James Reaney’s Alphabet Press printed the first edition of Colleen Thibaudeau’s Lozenges: Poems in the Shapes of Things in London, Ontario. Thibaudeau’s husband James Reaney typeset the poems and also designed the cover.
In fall 2024, Hilary Neary, historian and former Alphabet Magazine designer, proposed a facsimile second edition of the original Lozenges for Colleening 2025, a celebration of the centenary of Colleen Thibaudeau (1925-2012).
Printers Hilary Neary, Stephen Sword, and Mike Baker at The Forge and Anvil Museum in Sparta, Ontario. (Photo by James Stewart Reaney)
On August 27, 2025, after many months coordinating and resourcing this venture, printers and compositors Hilary Neary, Stephen Sword, and Mike Baker (pictured above) gathered at The Forge and Anvil Museum in Sparta, Ontario to print the new second edition. The photo shows a proof from the new 2025 edition’s cover design in the foreground, and Mike Baker holding the original 1965 classic by Colleen Thibaudeau.
Copies of the new Lozenges: Poems in the Shape of Things were given out at Colleening 2025 events in London and St. Thomas.
( ( ( 0 ) ) ) Listen to Hilary Neary and Mike Baker read poems from Lozenges.
Colleen Thibaudeau’s poem “The Train” from Lozenges (1965)Colleen Thibaudeau’s poem “The Hockey Stick” from Lozenges (1965)
Alphabet Issue 10 from July 1965 shows an announcement for Lozenges by Colleen Thibaudeau and one of her poems “The Hockey Stick” on the inside front cover.
Peggy Roffey presents “Colleen Thibaudeau’s ‘Big Sea’ Vision” at the James Reaney Memorial Lecture on November 29, 2025 in London, Ontario. London poets Patricia Black and Ola Nowosad (seated) read many of Colleen Thibaudeau’s poems.
Thank you for coming to the 16th annual James Reaney Memorial Lecture celebrating poet Colleen Thibaudeau’s ‘Big Sea’ Vision this past Saturday November 29th. This year’s lecture is part of Colleening 2025, a year-long celebration of Colleen Thibaudeau’s centenary.
Thank you, Peggy Roffey, for leading us through a thoughtful exploration of Thibaudeau’s poetry. After getting us to reflect on someone dear to us and on what we associated with that person, Peggy said that we “… had all donea bit of Colleening. You’ve used memory and imagination to reach beyond time and space. You found an association, made a connection and had that associated detail there. You’ve also connected to somebody else in the room.”
“You’ve touched on the way Colleen wrote her poems; they are peopled, very peopled. Full of significant objects, places, experiences, but all attached to people. I actually counted the number of people that she named by name or role: five hundred. Five hundred people in just over two hundred poems….”
Thanks also to Alannah Vanderburgh-Oakley and Dan Hamilton of the London Public Library for their coordination and assistance, and to Josh Lambier of Words Festival for his technical expertise.
This year’s James Reaney Memorial Lecture celebrates the legacy of poet Colleen Thibaudeau (1925-2012), the late wife of poet and playwright James Crerar (Jamie) Reaney (1926-2008). Our grateful thanks to the London Public Library and Wordsfest for giving the lecture a new home and partnership.
James Reaney and Colleen Thibaudeau near Stratford, Ontario in 1982. (Photo by Marty Gervais)
This year, in the spirit of metaphor, the 2025 James Reaney Memorial Lecture steps to the side and shows the “she” beside the “he”: James Reaney’s wife, poet Colleen Thibaudeau (1925-2012).
Join us on Saturday November 29that the London Public LibraryCentral Branch for poet Peggy Roffey’s presentation “Colleen Thibaudeau’s Big Sea Vision”.
In a combination of photo images, presentation, and readings, Peggy Roffey and readers from London’s poetry community will explore Colleen Thibaudeau’s unique voice, sensibility, and metaphor-making artistry.
Thibaudeau’s ‘Big Sea Vision’ helps us enter the very nature of metaphor, illuminating the connectedness of things, people, times and places, showing the as-yet unseen inside something else. Her big sea vision is all over her poems like fingerprints, a vision worth holding in a fragmenting world.
It was Colleen Thibaudeau who delivered the first Reaney Memorial Lecture in 2010 at a grassroots event in Stratford. Since the Lecture was welcomed to London under the Words Festival banner and with support from the London Public Library in 2016, performances of her poems and short stories have inspired several of its iterations.
The 2025 Lecture is the first one devoted to her words and life. It marks another peak for Colleening 2025, a year-long celebration of her centenary. The last scheduled event is Antler River Poetry’s evening of Colleen Thibaudeau poems, December 3, 7 pm, at the Landon Branch Library.
About the presenter:Peggy Roffey is a Londoner who did her Master’s Thesis at UWO on Colleen’s poetry to 1975 and was a frequent reader alongside Colleen. Peggy has also had an interesting career in organizational culture and leadership development at St. Joseph’s Health Care London and at UWO (Western). She taught English Renaissance Literature and Canadian Literature at Western for the last 15 years of her career.
For more about Colleen Thibaudeau and her poetry, see the biography on her website.
This year’s James Reaney Memorial Lecture celebrates the legacy of poet Colleen Thibaudeau (1925-2012), the late wife of poet and playwright James Crerar (Jamie) Reaney (1926-2008). Our grateful thanks to the London Public Library and Words Festival for giving the lecture a new home and partnership.
Colleen Thibaudeau and James Reaney near Stratford, Ontario, 1982. (Photo by Marty Gervais)