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Catherine Chandler (full name Catherine Marie Chandler Oliveira, born 1950) is an American poet and translator. She was born in New York City, raised in Wilkes-Barre, Pennsylvania, received a Bachelor of Arts degree in French and Spanish from Wilkes University and a Master of Arts in Education from McGill University. She currrently lives in Saint Lazare, Quebec, Canada and Punta del Este, Uruguay.

Her work has appeared in numerous print and online journals and anthologies, including Able Muse, Alabama Literary Review, Antiphon, The Centrifugal Eye, Comstock Review, First Things, Iambs and Trochees, The Lyric, Measure, Möbius, Orbis, Quadrant, The Raintown Review, Texas Poetry Journal and many others. She is the author of Lines of Flight (Able Muse Press, 2011) ), a highly acclaimed full-length collection of poetry in various forms, including the sonnet, pantoum, rondeau, villanelle, triolet, Sapphic stanza, ballad stanza, cento and other forms. She is the author of three chapbooks, For No Good Reason (2008), All or Nothing (2010) and This Sweet Order (White Violet Press, 2012) and is co-editor of Passages (The Greenwood Centre for Living History, 2010).

A second full-length collection, Glad and Sorry Seasons, will be published by Biblioasis, a Canadian literary press, in 2013.

Howard Nemerov Sonnet Award
Chandler is the recipient of the 2010 [|Howard Nemerov Sonnet Award], for her poem Coming to Terms, chosen by final judge, A.E. Stallings. She was also a finalist in 2008 for her poem Missing, chosen by Timothy Steele, and in 2009 for her poem Singularities, chosen by David Middleton.

The Lyric Quarterly Award
Chandler won The Lyric Quarterly Prize in 2004 for her poem Franconia.

Pushcart Prize and Other Nominations
Five of Chandler's poems, 66, Body of Evidence, Writ, Críonnacht and The Deep Season, received [nominations|Pushcart Prize], and her poem, 66, was a finalist for the Best of the Net award in 2006. Lines of Flight was nominated for the 2012 Griffin Poetry Prize.

Richard Wilbur:
I think particularly of the sonnet “Vermont Passage” — offer the reader a plain eloquence, a keen eye, and a graceful development of thought. Elsewhere in this fine book [Lines of Flight], she puts her gifts at the service of wit, as in the little anti-poetic poem “Supernova.” Lines of Flight is altogether a lively performance.

Eric Ormsby:
Catherine Chandler’s Lines of Flight is a marvelously accomplished first collection. Even to call it a ‘first collection’ seems somehow misleading; it is a first collection as Housman’s A Shoropshire Lad was. These are poems that have been long meditated and patiently crafted; they are distillations of experience captured in exquisite measures. There seems to be no forms of which Catherine Chandler is not a master, from quatrains and Sapphics to ballads and pantoums. She is an especially brilliant sonneteer. These beautiful poems have been made to last.

X.J. Kennedy:
In Lines of Flight, we hear an engaging and authoritative new voice. Catherine Chandler displays a dazzling command of poetic forms, writing skillfully in the sonnet, ballad stanza, rondeau, villanelle, cento, tercets — but to enjoy her work, the reader doesn’t have to be a fan of form. A keen observer of the natural world, she can also capture human life in all its harsh crudity (see “Boots” or “To the Man on Mansfield Street”). She writes with drive and force, and yet is able to convey what she calls “the delicate forensics of the heart.” Her instrument has many strings.

Rhina P. Espaillat:
One of the things that poetry—when it’s very good—does better than anything else is to suggest conflicting things at the same time and confront the reader with the possibility that both may be true. This book, which is extraordinarily good, does that to perfection.

Deborah Warren:
The sonnets in This Sweet Order sit at the confluence of music, intellect, and philosophy. Some sonnet-writers are content to fill in the pentameter like a puzzle where form trumps meaning. For Catherine Chandler, word and idiom are primary; she bends the form into the service of the content. The poem announces itself as a sonnet only insofar as its structure (quatrain, octave, sestet, couplet) is integral to the idea. The subject might be a flower, a highway, a season, or a loss: expect wisdom; expect plenty of wit: expect surprises. These are not poems that let you get away with just reading them. They bring you right into the conversation.

ACADEMIC CAREER
Chandler has lectured in Spanish at McGill University’s Department of Languages and Translation for many years, where she also held the position of International Affairs Officer. She also taught Spanish at Concordia University in Montreal, and has taught music and English for the Commission scolaire des Trois-Lacs in the Montérégie region of Quebec.

SELECTED WORKS
http://www.ablemuse.com/v7/interviews/catherine-chandler

http://www.ablemuse.com/erato/showthread.php?t=11384

http://www.theraintownreview.com/volume-9-issue-2/the-deep-season

http://www.14by14.com/index.html

http://www.barefootmuse.com/archives/archind.htm

http://www.mezzocammin.com/iambic.php?vol=2006&iss=2&cat=contributors&page=contributors

http://www.umbrellajournal.com/archive.html

http://www.lucidrhythms.com/archives.htm

http://www.the-flea.com/index.html

http://www.soundzine.net/

http://www.the-chimaera.com/

http://www.centrifugaleye.com/