Skip to content

Billy-Ray Belcourt is a writer and academic from the Driftpile Cree Nation and an Associate Professor in the School of Creative Writing at the University of British Columbia. His debut collection, This Wound is a World (2017), won the 2018 Canadian Griffin Poetry Prize, making him the youngest ever winner, as well as the Robert Kroetsch City of Edmonton Book Prize and an Indigenous Voices Award. It was also a finalist for the Governor General’s Literary Award for Poetry, the Gerald Lampert Memorial Award, the Raymond Souster Award, and the Robert Kroetsch Award for Poetry, and was named CBC Books’ best Canadian poetry collection of 2017.

Following his acclaimed debut, Belcourt has published NDN Coping Mechanisms: Notes from the Field (2019), winner of the Stephan G. Stephansson Award for Poetry; A History of My Brief Body (2020), winner of the Hubert Evans Non-Fiction Prize; A Minor Chorus (2022), winner of the Ethel Wilson Fiction Prize; and Coexistence (2024).

This Wound Is a World 2018 Canadian Winner

Judges’ Citation

Blending the resources of love song and elegy, prayer and manifesto, Billy-Ray Belcourt’s This Wound is a World shows us poetry at its most intimate and politically necessary.

Blending the resources of love song and elegy, prayer and manifesto, Billy-Ray Belcourt’s This Wound is a World shows us poetry at its most intimate and politically necessary. Mindful of tangled lineages and the lingering erasures of settler colonialism, Belcourt crafts poems in which “history lays itself bare” – but only as bare as their speaker’s shapeshifting heart. Belcourt pursues original forms with which to chart the constellations of queerness and indigeneity, rebellion and survival, desire and embodiedness these poems so fearlessly explore. Between its bold treatment of sexuality and wary anatomy of despair, This Wound is a World peels back the layers of feeling and experience to offer, finally, the glimmerings of hope – which only sometimes looks like escape: “follow me out the backdoor of the world”. This electrifying book reminds us that a poem may live twin lives as incantation and inscription, singing from the untamed margins: “grieve is the name i give to myself / i carve it into the bed frame. / i am make-believe. / this is an archive. / it hurts to be a story.


See also