Jeremy Stewart is a writer and musician.
His third book, In Singing, He Composed a Song, is coming Fall 2021 from the University of Calgary Press as part of its Brave & Brilliant series. In Singing, He Composed a Song is a formally experimental novel that tells the story of a high school student assaulted by the police and committed to the psych ward.
Stewart won the 2014 Robert Kroetsch Award for Innovative Poetry for Hidden City (Invisible Publishing; judge: Ken Babstock). He is also the author of (flood basement (Caitlin Press 2009). His writing has appeared in Canadian Literature, Geist, Lemon Hound, Geez, and Open Letter, among other places.
Stewart is an Associate Lecturer in Creative Writing and a PhD student of English Literature at Lancaster University, UK, under the supervision of Professor John Schad. His research involves a creative-critical hybrid project that considers Jacques Derrida’s “Envois” (from The Post Card) from the point of view of the Biblical figure of Daniel. In the course of these studies, he has completed private tutorials with Professors Terry Eagleton, Paul Muldoon, and Benoît Peeters. He is also a workshop participant in the Five Bodies series, jointly organized by the Nottingham Trent University Critical Poetics Research Group and the Nottingham Contemporary Gallery.
As a guitarist, singer, improviser, and songwriter, Stewart has toured Canada, sharing stages or collaborating with artists like Oxbow, Lightning Bolt, Geoff Berner, Wax Mannequin, Stanley Jason Zappa, Catherine Sikora, Matt Weston, Eldritch Priest, and many others.
In recognition of his work as founding Artistic Director of Casse-Tête: A Festival of Experimental Music, in 2016, Stewart received the inaugural Barbara Pentland Award of Excellence honouring his “extraordinary contribution to Canadian music” from the Canadian Music Centre.
He lives in Vancouver, Canada with his partner and children.
“In Atomineral Explorations, Jeremy Stewart paces Robert Smithson’s non-site, impatiently hoping for language to admit its limits. Stewart slides cagily between social textures, halting delivery of transparent representation to its extraction point. He takes careful note of the asymptotic desire to make the real creek creeky, to metaphorically and materially clear-cut old growth, and to uncrumple and enclose even the most inaccessible folds. Stewart’s poetic attentiveness is one that guts itself, rather than cast the reel.” – Ryan Fitzpatrick