Over the Years
See Publications
Steven Ross Smith’s first poetry publication was in the 1972 blewointment press anthology, what isint tantrik speshul, edited and published by bill bissett. Smith’s first publishing monikers were “stevensmith” and “Steven Smith”.
In 1971 Smith saw and heard a performance by The (Four) Horsemen – bpNichol, Steve McCaffery, Rafael Barreto-Rivera, Paul Dutton). Their dramatic sound/performance manifestation was a watershed event. Following, he met the members of that group and began to explore sound poetry, notably in a workshop with McCaffery. Smith soon began to hang out with other writers, inside and outside a Toronto energy ‘cluster’, including Richard Truhlar, Michael Dean, David Penhale, and Brian Dedora.
The influence of this (informal) ‘Toronto school’ set in, and an interest in innovative poetics took hold. In 1975 Smith, along with Truhlar, Dean and Penhale, formed Owen Sound, a group dedicated to sound and performance poetry and collaborative composition, influenced by The Horsemen, Canadian poet Sean OHuigin, the Brit Bob Cobbing, and other sound poets. Owen Sound began in earnest, a series of performances in and outside Toronto. They also collaborated with other poets and musicians. Their performances included: Cabaret Voltaire 1 (A Space Gallery, Toronto, 1977); 10th International Festival of Sound Poetry (Stedelyk Museum, Amsterdam, & Nationals Poetry Centre, London, UK, 1977); 11th International Festival of Sound Poetry (St. Lawrence Centre, Toronto, 1978); and Cabaret Voltaire 2 (Art Gallery of Ontario, Toronto, 1978).
Rehearsal for Cabaret Voltaire 2 (Toronto, 1977)
l to r: Paul Dutton, Sean OHuigin, Steven Ross Smith, Richard Truhlar, Michael Dean, Don Naduriak.
Owen Sound in Studio, Toronto, 1977 – L-R, Michael Dean, Richard Truhlar, Smith, David Penhale (standing)
In 1978 Smith, as a founding member, helped form the publishing collective, Underwhich Editions. Also, in 1978 he self-published his first solo chapbook white cycle (poetry) designed by artist Gilles Morin.
In 1983 Winnipeg’s Turnstone Press published his first book, Ritual Murders, a collection of short and cryptic fictions. In and around 1985, he was involved with Toronto “pataphysicians in several writings, performances, and events, including L’Affair “Pataphysique a celebration by several Toronto artists and writers in the spirit of the international manifestation known as ‘pataphysics. As well as contributing to the performances, Smith took the role of Media Res – aka The Minister of Propaganda – the publicity point man for the event.
Artist-participants at L’Affair “Pataphysique, in front of The Artculture Centre, Queen St. W, Toronto
l to r: back row: Brian Dedora (aka Adrian Fortesque), unknown, Michael Dean, Denise Bertrand, unknown, Nick Power (as a potato), John Hahn Riddell (aka Lleddir Nhah Nhoj), unknown, unknown, unknown. Front row (kneeling) Whitney Smith, Janine Mather Dean, Steven Ross Smith.
He also published his first book of poetry in 1985, blind zone. All this while Smith had maintained a freelance media career. In the mid-’80s, personal, professional, and artistic unrest began to set in.
Following a 1986 writing in Muenster, Saskatchewan, during which Smith reconnected with his literary self, he moved lock, stock, and clock to Saskatoon in search of a low overhead and a high time budget, to enable a focus on writing poetry and fiction and other makings. He tackled his writing in earnest and with near-daily consistency.
In 1990, in Saskatoon, he gathered a group of musicians interested in improvisatory voice and music collaboration – Roy Sydiaha (percussion), Bettina Grassman (violin), and Gilles Turcotte (clarinet) – and formed DUCT. The group gave monthly performances over nine years mostly at AKA Gallery in Saskatoon and along the way also included Ed Pas (violin), Lia Pas (oboe, other instruments, and voice), David Grosse (bass), and Wilf Tucker (violin). When this group faded out, Smith formed aBANDon with Grosse, Lia Pas, and Chris Cawthray, to perform scripted and scored pieces which also featured improvisation. They performed in Saskatchewan and Alberta.
From 1987 to 1988 Smith was Writer in Residence at Weyburn Public Library in southeast Saskatchewan, where he initiated writing activities and directed the Weyburn Writers Festival for three annual iterations. In these years he published 6 books of poetry and fiction with various publishers. In 1999 Smith was hired by a volunteer committee of writers to create a writing program in Saskatchewan.
Smith began the administrative tasks and artistic conceptualization for a writing program located in rural Saskatchewan — it became Sage Hill Writing Experience — offering its first programs in the summer of 2000 to notable success. It was a labour of love and fun. He maintained the role of Executive Director until 2008, and Sage Hill became an annual and national program and continues today, beyond its 30th year.
These years led Smith to new degrees of administrative and artistic success.
In 2000, he returned to Toronto for a reunion performance with Owen Sound. Michael Dean and Richard Truhlar and Smith re-connected and rehearsed and appeared with a ‘blast-from-the-past’ performance at The Scream in High Park. It was a blast!!
In May 2004, Smith performed as a reader and panelist at V Encontro Internacional de Poetas, 5th International Meeting of Poets in Coimbra, Portugal.
Pliny’s Knickers, a 2005 poetic collaboration with Saskatoon writer Hilary Clark, was rendered into chapbook form by designer Betsy Rosenwald, and published by JackPine Press. It won the bpNichol Chapbook of the Year award.
His poetry book Fluttertongue 3: disarray won 2005 Book of the Year at Saskatchewan Book Awards.
In 2008 Smith was hired as Director of Literary Arts at the Banff Centre, and held that position until 2014.
In 2009 his libretto Flown, written for American composer Wang Jie, was performed in Brooklyn. (www.wangjiemusic.com).
At The Banff Centre, among many other things he directed a dozen residency programs a year, curated the program In(ter)ventions: Literary Practice at the Edge, and managed Banff Centre Press. He initiated and edited Boulderpavement: Arts and Ideas, the on-line multimedia journal from 2009 to 2014. The site was hacked in 2014 and disappeared.
He was also writing, and in this era published 4 books of poetry and fiction plus a nonfiction book – a collection of Saskatchewan artist profiles.
In 2018 Smith was appointed Banff Poet Laureate and held that role to 2021.
He continues writing poetry and fiction. Two collaborative chapbooks have appeared from JackPine Press – Table for Four (in 2020 with collaborators Ted Landrum, Jennifer Still, and Colin Smith); and coda: Fluttertongue 7 (with designer Brian Kachur, 2021).
In 2022 the collection, Glimmer: Short Fictions was published by Regina’s Radiant Press.
In 2023 the collaborative poetry sequence created with Phil Hall – The Green Rose – appears from above/ground press in Ottawa.
In 2023 new writing and musing appeared in Alberta’s Freefall magazine and in H&AL (Hamilton Arts & Letters, a web publication).
Smith continues too with arts journalism, most recently with pieces in AlbertaViews, WestWord and GalleriesWest Digital.
WRITER IN RESIDENCIES:
- Weyburn Public Library 1988-1989
- Red Deer College, 1994
- Saskatoon Public Library, 1996-1997
- Prairie Wind and Silver Sage, Val Marie & Grasslands National Park, 2015
- Canadian Authors Association Alberta Branch, 2015-2016
- Centre for Creative Writing and Oral Culture, University of Manitoba, 2016.
- University of Windsor, 2018
- Tinhorn Creek Winery, Oliver, B.C. 2017
AWARDS
- bpNichol Chapbook Award Winner, Pliny’s Knickers, collaboration with Hilary Clark & Betsy Rosenwald, 2006.
- Saskatchewan Book of the Year Winner, Fluttertongue: 3, disarray, 2005
- Short-listed. Fluttertongue: Book 2, The Book of Emmett, for Saskatchewan Book Award for Poetry, 2000
- Short-listed. Lures. For Saskatchewan Book Award for Fiction, 1998
CURATION & ADIMINSTRATION
- Director, Literary Arts, The Banff Centre. 2008-2014
- Executive Director (founding), Sage Hill Writing Experience. 1990-2008
- Saskatchewan Representative, League of Canadian Poets, 1992–1994.
- Board of Directors, Coteau Books.1992-1994.
- Business Manager, Grain Magazine, 1989-91
- Saskatoon Program Coordinator, Saskatchewan Writers Guild. 1988-1991.
- Director, Weyburn Writers’ Conference. 1988, ’89, ’90.
- Co-Manager, 11th International Festival of Sound Poetry. Toronto. 1978.
ARTS JOURNALISM
- Reviews, Profiles & Articles in more than fifty publications, including FreeFall, Albertaviews, GalleriesWest, Freelance, Westword, Saskatchewan Arts Alliance, CVII, Write, Poets & Writers, Star Phoenix, Craft Factor.
FOR HIRE
- Public Readings
- Speaking & Panel Engagements – Poetry, Arts Journalism
- Book Reviews – Poetry
- Profiles, Opinion, Topic Articles – Literary, Visual Arts
- Manuscript Evaluation & Consultation – Poetry
- Manuscript Editor – Poetry
- Mentorships – Poetry
- Jurying – Literary, Multi-disciplinary & Grant Awards
70's
Steven Ross Smith began writing poetry in the late ‘60s. His first poetry publication was in the 1972 blewointment press anthology, what isint tantrik speshul, edited and published by bill bissett. Smith’s first publishing moniker was Steven Smith.
In the early ’70s. In 1971 he saw and heard a performance by the (Four) Horsemen (sound and performance poetry ensemble – bpNichol, Steven McCaffery, Rafael Barreto-Rivera, Paul Dutton). This was a watershed event. Following, he met the members of that group and began to explore sound poetry, notably in a workshop with McCaffery. Smith soon began to hang out with other Toronto writers, inside and outside an energy ‘cluster’. Among these writers were Richard Truhlar, Michael Dean, David Penhale, and Brian Dedora.
The influence of this (informal) ‘Toronto school’ set in, and an interest in innovative poetics took hold. In 1975 Smith, along with Truhlar, Dean and Penhale, formed Owen Sound, a group dedicated to sound and performance poetry and collaborative composition, influenced by The Horsemen, Sean OHuigin, the Brit Bob Cobbing, and other sound poets. Owen Sound began a series of performances in and outside Toronto. They also collaborated with other poets and musicians. Their performances included: Cabaret Voltaire 1 (A Space Gallery, 1977); 10th International Festival of Sound Poetry (Stedelyk Museum, Amsterdam, & London, UK., 1977); 11th International Festival (St. Lawrence Centre, Toronto, 1978); and Cabaret Voltaire 2 (Art Gallery of Ontario, Toronto, 1978).
Rehearsal for Cabaret Voltaire 2 (Toronto, 1977)
l to r: Paul Dutton, Sean OHuigin, Steven Ross Smith, Richard Truhlar, Michael Dean, Don Naduriak.
In 1978 Smith, as a founding member, helped form the publishing collective, Underwhich Editions. Also, in 1978 he self-published his first solo chapbook white cycle (poetry), designed by visual artist Gilles Morin.
80's
In 1983 Winnipeg’s Turnstone Press published his first book, Ritual Murders, a collection of short and cryptic fictions. In and around 1985, he was involved with Toronto “pataphysicians in several writings, performances, and events, including L’Affair “Pataphysique a celebration by several Toronto artists and writers in the spirit of the international manifestation known as ‘pataphysics. As well as contributing to the performances, Smith took the role of Media Res – aka The Minister of Propaganda – the publicity point man for the event..
Artist-participants at L’Affair “Pataphysique, in front of The Artculture Centre, Queen St. W, Toronto
l to r: back row: Brian Dedora (aka Adrian Fortesque), unknown, Michael Dean, Denise Bertrand, unknown, Nick Power (as a potato), John Hahn Riddell (aka Lleddir Nhah Nhoj), unknown, unknown, unknown. Front row (kneeling) Whitney Smith, Janine Mather Dean, Steven Ross Smith.
In 1987, Smith moved lock, stock, and clock to Saskatoon in search of a low overhead and a high time budget, to enable a focus on writing poetry and fiction and other makings
90's
In 1990 he gathered a group of musicians interested in improvisation and collaboration – Roy Sydiaha (percussion), Bettina Grassman (violin), and Gilles Turcotte (clarinet) – and formed DUCT, a synthesis of voice and instruments. The group gave monthly performances over nine years mostly at AKA Gallery in Saskatoon, and along the way, also included Ed Pas (violin), Lia Pas (oboe, other instruments, and voice), David Grosse (bass), and Wilf Tucker (violin). When this group faded out, Smith formed aBANDon with Grosse, Lia Pas, and Chris Cawthray, to perform scripted and scored pieces which included improvisation. They performed in Saskatchewan and Alberta.
In 1990 Smith was hired to create a writing program in Saskatchewan. He laboured (and had fun) as the founding Executive Director of Sage Hill Writing Experience. He held the position until 2008.
He published as Steven Smith until 1998, when, because of confusions with others writing with similar names, he incorporated his middle name ‘Ross’ and became Steven Ross Smith, which on occasion still creates confusion, about whether he’s Stevenross or Ross-Smith (of which he is neither).
2000's
In 2000, Smith returned to Toronto for a reunion performance with Owen Sound. Michael Dean and Richard Truhlar and Smith re-connected and rehearsed and appeared with a ‘blast-from-the-past’ performance at The Scream in High Park. It was a blast!!
In May 2004, Smith performed as a reader and panelist at V Encontro Internacional de Poetas, 5th International Meeting of Poets in Coimbra, Portugal.
Pliny’s Knickers, a 2005 poetic collaboration with Saskatoon writer Hilary Clark, was rendered into chapbook form by designer Betsy Rosenwald, and published by JackPine Press. It won the bpNichol Chapbook of the Year award.
Smith was hired as Director of Literary Arts at the Banff Centre in 2008. He held that position until 2014.
In 2009 his libretto Flown, written for American composer Wang Jie, was performed in Brooklyn. (www.wangjiemusic.com).
2010's
At The Banff Centre, among many other things he directed a dozen residency programs a year, curated the program In(ter)ventions: Literary Practice at the Edge, and managed Banff Centre Press. He initiated and edited Boulderpavement: Arts and Ideas, the on-line multimedia journal from 2009 to 2014. The site was hacked in 2014 and disappeared.
In 2018 Smith was appointed Banff Poet Laureate and held that role to 2021.
2020's
He continues writing poetry and fiction, both collaborative and solo, and these endeavours have manifested in two collaborative chapbooks from JackPine Press – Table for Four (with collaborators Ted Landrum, Jennifer Still, and Colin Smith), and coda: Fluttertongue 7 (with designer Brian Kachur).
In 2022 the collection, Glimmer: Short Fictions was published by Regina’s Radiant Press.
In 2023 the collaborative poetry sequence created with Phil Hall – The Green Rose – appears from above/ground press in Ottawa.
Smith performing sound poem
Smith’s various works
In 2023 new writing and musing appeared in Alberta’s Freefall magazine and in H&AL (Hamilton Arts & Letters, a web publication). As of mid-2023 he has a manuscript – working title True Mosses – on the publisher merry-go-round, and has even newer works in progress.
Smith continues too with arts journalism, appearing in AlbertaViews, WestWord and GalleriesWest Digital.