Loving and Living Anew: Humble the Poet’s 'How to be Love(d)'

Canadian poet, rapper and spoken word artist Humble the Poet writes on the plurality and deep implications of love

By: Harleen Grewal

Humble the Poet’s How to be Love(d) was published at the end of 2022. (Harleen Grewal/CanCulture)

How to be Love(d) is about engulfing yourself within love, around love and “being love,” an act that Toronto artist and author Kanwer Singh, commonly known as Humble the Poet, described as the action of wholeheartedly immersing oneself in love. To love and be love, one has to unlearn past ideas of love that are commonly influenced by the media and culture.

Humble writes that love is the single source, when mastered, that harnesses unconditional love, but we often seek it from external sources rather than looking within ourselves. We busy ourselves with fulfilling the pressures set by others rather than meditating on what would bring us internal happiness.

Self-love isn’t selfish nor can it only be achieved through weekly self-care routines and techniques. The way I see it, self-care is a form of self-love that requires daily commitment and the practice of prioritizing yourself, learning about yourself and loving all versions of yourself, including past, present and future.

Humble explains the love you share is influenced by how actively you love yourself. In his book, he ties this to how a better understanding of love has evolved him and his relationships.

He works through his past experiences of love to enlighten us of his growth and how these changes could be applied to our lives. “To experience love, we have to let go,” he writes.

Letting go is the first step to allow love to resurface. By letting go of all that harvests us, in directions opposite to the consumption of love, we are better able to redefine what love is. We can redefine, reimagine and rework what love is and how it fits in our present.

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To reimagine past loves, past experiences of trauma and hurt require mending. Humble shares a story about reconnecting with his immigrant parents. In the past he prioritized his love language — words of affirmation — and expected love to be returned in the same way. Upon reflection, he began to understand that acts of service was how his parents shared their love and he developed a deeper appreciation for them, seeing them as people before parents.

The disconnection often felt between children and parents, where different ideologies are likely to clash as children begin to discover their selfhood and ways of being, could constitute this indifference. However, as adults we hold the power of revisiting these memories to heal the love we hold towards others and ourselves and formulate secure identities.

As the firstborn of immigrant parents, this reading allowed me to connect with my family through a new perspective on love. The disconnect between both generations could easily intensify and spiral into despair if neither party tries to understand the other. Children crave love and their ideas of love are often influenced by mainstream media and dominant western ideologies, which may not fit adult needs. Children follow the cues they witness, and the difference in immigrant parenting and cultural norms from the West lead to negotiating identities and feelings in-between two spaces.

By understanding human flaws and the added responsibilities of parents, especially those navigating new countries, we need to forgive past examples of what we thought was love and create new dialogues and actions of love. As adults we need to reflect on these voids and reevaluate childhood memories and feelings.

Our parents are our first loves, the first humans we bond with, a connection that often lasts a lifetime, but sometimes they may not be the best examples of what love is. As Humble poetically reflects: “that’s a part of being human. The love we hold for others, ourselves and the definition of love all evolve with time and growth”. By truly loving ourselves, we are able to love others and allow others to love us. He writes, “Love is to act on it, receive it and service it.”

As we live, we learn to understand how the power of love transforms our being. How to be Love(d) presents the plurality of love: to love beings, being loved and “being love.” To forget what love once meant and begin to learn what love is and can be is necessary to see the beauty and humanity within the world. How to be Love(d) is an inspiring, courageous telling about love, one that reawakened my inner child. I reflect on this as I create a collage of my childhood pictures to recontextualize my childhood memories, childhood and prioritize the little girl who just wanted to be loved.

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Humble the Poet is a Canadian artist, rapper, spoken word poet, former Toronto elementary school teacher and an international best-selling author. He is the mastermind behind Unlearn, Things No One Can Teach Us and his 2022 release - How to be Love(d): Simple Truths for Going Easier on Yourself, Embracing Imperfection and Loving Your Way to a Better Life.

In the eyes of the beholder: Victoria West’s poetry debut 'Sunset in Toronto'

Victoria West published her debut poetry novel on Oct. 28, 2021

By: Ionna Hipolito

Canadian writer Victoria West. (Courtesy of Victoria West)

To find beauty where it may not often be present, and to discover hope where life may not always offer hope, is a gift only the truest of optimists possess. 

Canadian writer Victoria West’s latest poetry release, Sunset in Toronto, explores the themes of life, loss, love and family. West divides the book into three sections: Feelings, Experiences and Places.

For 10 years, West wrote about fashion in Toronto and was involved in different events in the fashion scene. “It was really enjoyable … and I enjoyed every minute of it,” she explained. But with this new release of poetry, West is excited to start a new chapter in her life. 

When COVID-19 came along, West felt as if her social life plummeted, like everyone else’s. With the lack of social activities, West began working from home, and there came an increase in her creative endeavours. “I had not attended any more fashion events during these past two years because of COVID,” noted West. Naturally, this is how her attention shifted from fashion to poetry. 

Sunset in Toronto came to be because West began reading poetry books and finally gained the inspiration to start writing her own. For many, poetry is typically subjective and enables them to absorb thoughts and feelings meaningfully. Others read poetry to find someone to relate to — to lose themselves in somebody else’s world and revel in the wonders of their words. 

The book highlights what it means to connect emotions with the mind; West ensured that her audience could recognize these emotions each time they go through the pages and ensured that her writing did not make readers feel pity. Instead, readers can understand her point of view, even as far as feeling understood themselves. Sunset in Toronto is an easy and engaging read, as the real-life narrative explored throughout the book magnifies what it means to look forward to every moment the reader experiences for the rest of their life.

Sunset in Toronto front cover, designed by Victoria West. (Courtesy of Victoria West)

Poetry can tell a small story alone or portray an existing situation. In the case of Sunset in Toronto, West’s life is conveyed in a storytelling format. Many compelling poems are only a few lines long but still have many layers that readers can unpack. 

This poetry book is a dedication to West’s late mother. It gives readers a glimpse into some of the happiest — and most vulnerable — moments of her life. 

Sunset in Toronto includes many familial-related poems that warm even the coldest hearts. The love West has for her mother and son was a constant throughout the book.

With this, West wishes her mother were here to read the book herself and expressed that maybe the poetry would have looked different if her mother had been there to read it.

“I would have wanted her to be a part of it, to witness it,” West expressed. “I simply wish we had more time, but the bottom line is … it's never enough when you lose a parent. You think it's never enough.”

Only a person who is sure of themselves can be such a positive example of love for those around her. Everyone has a different opinion about love and what it takes for them to communicate it. But for West, one way of expressing love was reading her son to sleep every night when he was a baby. “He grew to love books and is a big reader now … I loved tucking him in at night.” 

There is a clear description of all kinds of love in many stages throughout Sunset in Toronto. The intimacy and closeness West has with her family allowed her to explore a wide range of emotions, from extreme joy and compassion to grieving, which made her writing compelling and relatable. 

After a handful of hardships, it emphasizes her progress in achieving self-appreciation, independence and overall self-love. West suggests that anyone who has experienced a breakup or has indulged in romantic explorations to explore themselves. She said that “self-love is a good way to help you overcome the pain … and take care of yourself. Take care of your heart.”

West’s Sunset in Toronto paints a perfect picture of the most significant moments in the author’s life, even the most painful parts. Her words show what it means to live life to the fullest. Despite this being her first poetry book, West’s work is insightful and evocative of powerful personal sentiment. She fell in love with this city, “a city where everyone can find their place. [I] found my place, and I was happy for that.”

The recorded feelings, experiences and travels are available for anyone to read. Don’t miss out on this gem and pick up a copy for yourself. Maybe it will help you find your place too— or get on the path towards it.

40th Festival of Authors showcases poetic wonder of the world Ian Keteku and local Toronto talent

By Mia Maaytah

Ian Keteku, 2010 World Poetry Slam winner at the Toronto International Festival of Authors on Oct. 25, 2019 at the Harbourfront Centre in downtown Toronto. (CanCulture/Mia Maaytah)

The 40th anniversary of the Toronto International Festival of Authors wrapped up their 11 day celebration on November 3 which featured over 100 Canadian novelists, journalists, and poets.

Midway through the festival on Oct. 25, the Harbourfront Centre in downtown Toronto hosted the annual poetry slam in partnership with Toronto Poetry Project that featured world renowned Canadian poet Ian Keteku and upcoming Toronto-based poets.

Twelve poets eagerly signed up to perform their best pieces in hopes of entertaining and exciting the audience, and that would also earn them a score high enough to advance to the second round of the competition.

Judges consisted of random audience members, handpicked by one of the event curators and chosen based on their answer to “what rules in life should be broken?” The curator explained the answers that both encompassed and denied cliches such as “rules should exist so they can be broken,” and even “the rule of J-walking should be broken.” Judges were instructed to rate performances on a scale of 1-10 and audience members were encouraged to verbally share their opinion on the scores given, whether positive or negative.

The lights dimmed and David Silverberg, the artistic director of Toronto Poetry Project and founder of Toronto Poetry Slam, began the show with a land acknowledgement, a trigger-warning, and spotlighting that an empty, wooden chair on stage was there to represent those who have been silenced and are unable or have been stopped from sharing their message.

David Silverberg beginning the Toronto Poetry Slam at the 40th Festival of Authors on Oct. 25, 2019. (CanCulture/Mia Maaytah)

As the poets took the stage, themes of race, gender, and sexuality were prevalent in many of the performed pieces, some comedic and satirical, others more serious and daunting. 

Ian Keteku, 2010 World Poetry Slam winner and featured poet of the evening, spoke between rounds of the competition and shared poetry from his new anthology Black Abacus.

His words captured the audience as he moved between analogies about life passing us by quicker than our brains can comprehend it, and used his platform to speak on gun violence, throwing shade, and the constant injustices of modern racism.

Keteku shared a poem called “How To Kill A Poet” which addressed poet stereotypes and the ways in which their message and their work can be literally and figuratively destroyed.

Keteku spoke before the show about what drives his passion to speak and create works of written art.

“I like to explore things that are ethereal but have meaning in our everyday life. I like to offer words of hope and meditation. Sometimes they are critical of the world,” Keteku said. “There’s a lot of injustices. I speak about race, I speak about African people, I speak about indigenous sovereignty around the world. I speak about opening one's heart for peace.”

Liam Galway, the winner of the competition who will be performing at the 2020 Festival of Authors, also spoke about the challenges of mental health and gender roles. 

Liam Galway performing his first poem at the Harbourfront Centre in downtown Toronto on Oct. 25, 2019. His poem uncovered the topic of boys and all the ways society tells them not to dance. (CanCulture/Mia Maaytah)

His performance entitled “Distractibility,” began by spelling ADHD, and quickly turned into a rhythm of rhyming words and speaking in a pace to mirror the speed at which his mind seems to work.

“I wish I could say what goes on in my head. Numbers confuse me, letters amuse me, my memory’s shaky and my appetites choosy. But it has its upside as well,” Galway said. 

“I can tell my mom I love her and say it differently every single day. I can write poetry for days, I can write essays, sometimes get A’s. I can take the mean things that some of my friends would say and turn them into songs and I’d sing along so their words wouldn’t hurt as much.”

It appeared as though no topic was off limits. From police brutality to stories of orgies, racism in small towns to sex on the beach, nothing was exempt from the mic.

The poets left the crowd joyfully amused throughout the show and seamlessly showcased their world of literary creativity and the importance of sharing a message, regardless of what it may be.

“The audience appreciates how, with even a very serious poem, there's a power and an emotional energy running through the room once that final syllable hits,” Silverberg said. “Because poetry slams also emphasize performance, the audience recognizes they may also watch skilled performers as well as talented writers.”

“What keeps poets coming back to slam is the chance to showcase their work to a wider audience, since poetry slams are very well attended, and they may also like a competitive format to an open mic that also energizes and engages the audience, encouraging them to, say, boo scores they don't like. Things run a bit different at a poetry slam.”