Selected Press (Online)

Thomas Hodd, The Telegraph-Journal

Shane Neilson, PoetryReviews.ca

Laurie Fuhr, bloom oon

Jennifer Still, The Fieldstone Review

Rhea Tregebov, The Globe and Mail

Alex Boyd, One Question Interview:

Jennifer Still, Winnipeg Free Press

Praise for Splitting Off

“Inventive, quick, charged with appetites, these poems realize a lively, engaged poetic intelligence. Triny Finlay’s Splitting Off is a marvelous debut, a highly accomplished book, versatile and confident in pleasure and form.”-Sharon Thesen

“In Triny Finlay’s Splitting Off, all objects are erotic—they reach out to you: pinking shears, seductive omelettes, a fine-boned teacup. A kiss and there are ‘flashes of sweet, gapped-teeth lacunae infuriating the room.’ She knows the innards of words, and has a painter’s eye for detail. A mistress of impersonations, she plays riffs on family, friends, freaks. A wonderful debut collection.”-Rosemary Sullivan

“Triny Finlay’s voice is unique, sensual and muscular. Her poems are threatening and seductive; we’re pulled in by our faith in the everyday objects that fill them and find ourselves led willingly into a sinister domestic wilderness that surely lives somewhere just down the block. This is poetry of intense, feral beauty.”-Sean Johnston

“Finlay’s dry mixture of cynicism and epicurean delight struck me as very much of the moment, capturing a particularly modern disillusionment that comes from searching for love in today’s landscape of gender politics.”-Sonnet L’Abbe, The Globe and Mail

“Triny Finlay’s Splitting Off is declaratory poetry. She writes a fast line: an arrow shot with little trajectory but great speed… Her approach is sensual/erotic/wet, this in a country parka-ed, toqued, and frozen for half the year. She’s moving mountains to bring us exotica. ‘You think I am different. / You don’t know difference’ (35). That is indeed what we wish our poets to do: make a difference / make it different.”-Andrew Vaisius, Prairie Fire

Splitting Off is a tour through a talented early poet’s rigorous testing of her own voice, through a range of poetic styles and devices, from momentum-heavy prose pieces to taut couplets and sonnet-variations to one of the best glosas I’ve ever read: ‘Winter Ritual,’ which avoids the standard pitfall of paling in comparision to the four-line quotation around which it is built…Finlay is sharp, rhythmically masterful, and playful.”-Anita Lahey, ARC Magazine

“Throughout Splitting Off, intimate scenes are created and emotions are transmitted without extraneous melodrama, without histrionics. Finlay has presented a relaxed rationality so the reader can revaluate symbolic objects. Via her speakers, she has rendered a humble stoicism, a private logic.”-Michael Lockett, The Fiddlehead

“Finlay’s first collection of poems articulates her contemporary woman’s sensibility while quoting, paraphrasing, and alluding to literary works of the past. Finlay’s incorporation of literary forebears structurally and thematically gives depth to the poems…her poetry in Splitting Off, is already brilliantly accomplished.”-Thomas M.F. Gerry, Canadian Book Review

“This is the work of poetry; this is the kind of talent I require to hold attention; this is the debut that seems as if it could have been written instead by a pseudonymous ten-book poet; this is poetry that seems so shaped, so aged, so ripe, so playful, so idiosyncratic (save for the snake in the grass cliché) that it can only come from one consciousness — splitting off, as it were. With this book, Triny Finlay has made her mark.”-Shane Neilson,

Praise for Histories Haunt Us

“Undisguised, her poetry takes on a powerful authenticity.”-Rhea Tregebov, The Globe and Mail

“Powerfully elemental in image and sound, particularly in the ghazal-like title sequence, this is a beautifully sombre and sensual reflection on the faithful failing of language.”-Jennifer Still, Winnipeg Free Press

“Uniting the [book’s] two styles is Finlay’s declarative sentences such as, ‘The finest art can be the ugliest metaphor’ or ‘After the bliss of the baby came the flies.’ In Finlay’s world, filled with lingering ghosts, broken hearts and sickness, where ‘you are an anchor or you are not,’ these sentences reflect a desire to make sense of it all. Anchored, these poems are, perhaps, but during a hurricane at night, in the middle of the ocean.”The Telegraph-Journal 

“Finlay has a gift for weaving many images into neat patterns with open-ended conclusions. She frames many pictures, some of which are fleeting while others probe in-depth the feelings, thoughts, and imaginings of the human psyche.”-Michael O. Nowlan, The Daily Gleaner

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