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Elizabeth Edwards
 

Elizabeth Edwards is a past National Endowment for the Arts/Maine Arts Commission poetry fellow and her first collection of poetry, “The Chronic Liar Buys a Canary,” was published in 2004 by Carnegie Mellon University Press.    Her work has appeared in many journals, including Witness, the Antioch Review, Ploughshares, the Southern Review, the Cream City Review, Artful Dodge, Cimarron Review, Carolina Quarterly, the Florida Review, the Sycamore Review, and Sports in America, an anthology of sports writing, Wayne State University Press.   Elizabeth has taught poetry at Emerson College and at the University of New Hampshire. She is currently the communications director of an IT consulting and engineering company headquarted in Kittery, Maine.

PRAISE FOR “THE CHRONIC LIAR BUYS A CANARY” 

I carried this book with me for a long time, read it on planes and trains,
nearly lost it once in a rental car, but ran back in time to rescue it from
my absent-minded self, and as I read it, and reread it, and read it silently
and aloud, and stole lines from it for my own poems, I realized I was having
a damn relationship with the thing. That's what these poems do. They elevate
and irritate, they inspire and depress, they mythologize and demonize. It’s
a powerful first book. Read it.
—Sherman Alexie 

The current that pulses through these poems is exhilarating. At times it is
almost giddy and at times it is pensive-joy looking at the face of time.
Always, it is the stuff of finely tuned, throbbing language that is willing
to enter into a remarkable array of situations and give off very genuine
sparks.
—Baron Wormser 

Elizabeth Edwards’ The Chronic Liar Buys a Canary is a fearless, incisive,
tough-minded, and artful debut. Since one of the great pleasures of art for
me is to witness the extraction of the eternal from the brouhaha of the
daily, Edwards doubles the pleasure by performing this with considerable
panache and verve.
—Jack Myers 

Edwards has real facility with form…[combining] traditional rhyme, inventive enjambment, and contemporary imagery to form her own, imitable style.
—Review by Judith Kitchen, Georgia Review