Artistic inspiration flows from many sources, and in From North Of The 49th, Canadian poet Jack Nanaimo draws deeply from the worlds of music and visual art. By integrating imagery and emotions inspired by art into his verses, Nanaimo creates a poetic experience that resonates with both visual richness and auditory rhythm. His work pays homage to iconic Canadian painter Emily Carr and timeless musical compositions, demonstrating how cross-disciplinary inspiration can deepen the expressive power of poetry.

One of the most striking examples of Nanaimo’s connection to art is his poem “Emily Carr.” Carr, a pioneering painter from British Columbia, is celebrated for her powerful depictions of Canada’s landscapes and Indigenous culture, and Nanaimo captures her spirit and legacy through his words. He describes her as “an artist on the West Coast” who created “great forests of Canada in paintings of green.” His choice of imagery mirrors Carr’s own work, with rich descriptions of “totems by the sea” and “British Columbia forests and oceans in green and blue hues.” Through his poetry, Nanaimo brings Carr’s paintings to life in verse, expressing a shared reverence for the natural world and the cultural heritage of Canada’s West Coast. By capturing her work’s essence, Nanaimo reminds readers of how visual art can influence the way we see, understand, and feel connected to the world around us.

Nanaimo’s poems also reveal his admiration for music’s emotional power. In “Morning,” inspired by Edvard Grieg’s “Morning Mood” from Peer Gynt Suite, Nanaimo mirrors the piece’s uplifting, awakening quality in his description of “melodies flowing over the fjords majestic in sight.” The poem crescendos in sync with the music, capturing the feeling of dawn and the energy of a new day. Nanaimo uses language to mimic Grieg’s musical rhythm, showing how poetry can evoke similar feelings as music, painting an aural landscape that readers can almost hear as they read.

Another musical influence appears in his poem “The Condor,” inspired by the famous Andean piece “El Condor Pasa.” In this poem, Nanaimo channels the sense of freedom and strength associated with the condor, a symbol of the Andean highlands and a creature that has long inspired musicians and poets alike. He describes the condor’s flight as “riding thermals in flight,” embodying the bird’s grace and power. His words echo the melody of “El Condor Pasa,” a song known for its haunting beauty and association with freedom, independence, and the natural world. By weaving music into his poetry, Nanaimo creates verses that seem to soar, engaging readers’ senses and emotions on multiple levels.

In From North Of The 49th, Nanaimo’s poems are enriched by the influences of music and visual art. His work bridges mediums, drawing inspiration from the brushstrokes of Emily Carr to the notes of Grieg and Robles, and turning them into verses that capture Canada’s beauty and spirit. By merging these artistic expressions, Nanaimo’s poetry resonates with readers, allowing them to experience Canada through sight, sound, and the evocative power of words. His work underscores the ways in which music and art can transform poetry, offering readers a multidimensional experience that is both intellectually engaging and emotionally moving.