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Until he discovered a park pavilion, Moose never knew life beneath a roof. His friends Beaver, Bear and Squirrel, however, all seemed to be roof experts. Moose decides to put his antlers to good use. With his friends’ help, he soon has a permanent roof over his head. But it becomes more trouble than worth. Moose can’t lie down to sleep, can’t balance when he walks and can’t reach the tender weeds at the bottom of the pond. His friends can only offer advice from the life they know, which is no help at all to tired, cranky Moose.When a sudden storm blows his roof away, his aches and pains disappear. Moose gets a good night sleep and eats a wonderful weedy breakfast. He realizes the sky over his head is roof enough for him.
Future Welcome includes daring and often thrilling new writing from some of the 21st centurys best prose and poetry writers, such as: David Wevill, Sina Queyras, Raymond Hsu, Robert Minhinnick, Annie Freud, bill bissett, Patrick Chapman, Meredith Quartermain, Jason Camlot, Liane Strauss, Todd Colby, Jennifer K. Dick, John Hartley Williams, Louise Bak, Hal Sirowitz, Adeena Karasick, Mike Marqusee, Kavita Joshi, Stan Rogal, Tammy Armstrong, Richard Peabody, Jenna Butler, Ali Riley, Jon Paul Fiorentino, David Prater, J. R. Carpenter, David McGimpseyplus many more.
Moosehead Anthology 4, The
Moosemilk, an old-time Canadian idiom meaning bootleg or homemade liquor, refers here to the variety and vintage of the work within these covers. Nine Moosehead Reviews and six Moosehead Anthologies saw publication between 1977 and 1999 ó a great store of spirits! Here is some of the best stuff, the most readable, memorable and intoxicating….
Mooseheads have been edited and produced from the beginning by Robert Allen and Steve Luxton, along with the many distillers, imbibers and runners who have inhabited or drifted through the lively writing scene of Montreal and the Eastern Townships. The selection in Moosemilk was made by writers reading writers. Thereís sex, death, farming, childhood and, of course, writing… always a connection to that vocation of pain and pleasure.
Critical Comment
ìAny reader of this collection cannot avoid being struck by its eclecticism…. Everything in it is of high quality and within each section we find a variety of styles and attitudes…. The anthology is recommended to anyone interested in contemporary writing.î
ó Canadian Book Review Annual, 2000
Lyrical poetry inspired by popular songs, Rogal sweeps the reader through the journey of creation.
In More Songs the Radio Won’t Play, Stan Rogal takes formerly “popular” tunes (from various genres) and transforms them. Self-referentiality; mashups of the erudite and profane; allusions to other arts and sciences; the insertion and bending of biographical and historical facts; problematic snippets of philosophy and literary theory, quotes, and bastardizations; deploying non- or a-political language to challenge notions of how a poem should work; sampling; and off-kilter humour work together to update Rogal’s playlist for a present-day audience.
While his poems unavoidably serve to comment on the world today, Rogal resists a central message. The true emphasis of this collection is on the process of creation. It’s not the destination but the journey that is of significance. Not mere cover versions, not exactly parodies (though parodic), these poems are redactions, mutations, Frankenstein’s monsters … they resemble the original — somewhat — yet are also grossly different.
American Library Association Stonewall Honor Book; Trillium Book Award for Poetry winner; Gerald Lampert Memorial Award finalist (League of Canadian Poets)
A book of poems and interruptions, recording instances of love, self-realization, and recovery in non-binary, queer, and autistic lives.
In their stunning debut collection, A. Light Zachary draws power from a vision of life – especially queer and neurodivergent life – as a journey of continuous self-realization. These poems record the experience of locating oneself over and over again, within gender, language, family, labour, sexuality, fear, and love.
Reaching back to claim queer space in the oldest Western canon, Zachary interrupts famous quotations from ancient Greek and Roman thinkers, asking: what advice might Juvenal or Seneca have handed down to non-binary citizens? Elsewhere, in concise and fluid verses that draw from punk rock and quantum physics, they ground the work firmly in the present. Come: invade with the alien. Evade with the coyote. These poems propose a certain supremacy: in these unending journeys of discovery and alienation, “we become more sure of who we are than you.”
Both chronicle and confrontation, the poems of Jacob Scheier’s debut work out and through notions of loss. As the death of a young man’s mother instigates and informs these investigations, the realities of romantic failures become inextricably connected, and in the process More to Keep Us Warm maps the limitations, and breaking points, of the human heart. Questioning how and why we fall in and out of love becomes the collection’s haunting refrain.
At the same time, Scheier’s poems mourn the absence of both religious and cultural identity. Facing the painful and confusing losses of his life, the support of the only “tradition” the writer knows — an atheist, socialist upbringing — proves unsatisfying. In response, More to Keep Us Warm explores the formation of a new, complex sense of self as inherited belief systems fail. With humour, sardonic wit, and conversational charm, this search engages and struggles with Judeo-Christian tradition to become an intimate meditation on the nature of God in a secular world.
A Globe and Mail Top 100 Pick of 2006
John Dupre, a junior at West Virginia University, is an English major on the Dean’s List dressed up as a Beatnik cowboy, the folk-singing resident outsider before nonconformity became a youth uniform.
Morgantown is a masterful ensemble piece centering around John and peopled by his unforgettable friends in the out crowd: Bill Cohen, the sharpshooting, knife-throwing Zen Buddhist Harvard scholar; Marge Levine, the political radical with the Nefertiti eyes; and William Revington, the scion of old money who has the world on a platter and can’t think of a single thing to do with it. And then theres his girl-friends and sexual obsessions: Carol Rabinowitz, the Wyatt scholar and Jewish American Princess; Natalie, the folk-singing boy-girl with the mind of a scientist; Cassandra Markapolous, whom John loves but is not allowed to be in love with.
And, there’s the Alice in the photograph, the boy dressed up as a girl dressed up as another girl, on and on endlessly reflecting: a hall of mirrors that threatens to draw John into its vortex.
In this biography of Morley Callaghan, Gary Boire celebrates the life of one of the world’s most prolific writers. Author of over twenty novels and a hundred short stories, Callaghan enjoyed a glorious career of international recognition and respect. His coterie of friends included Hemingway, Fitzgerald, and Joyce. His admirers have called him a “professional contrarian, an inveterate counter-puncher.” Critics have described him as an “intellectual/personal/literary harlequin.” Although a man of contradictions, he was consistent in one thing: be it as novelist, journalist, lawyer, playwright, amateur boxer, sports commentator, or social critic, Callaghan was always engaged with his world.
Beth and her husband Jake are expecting a baby. While Beth is having an ultrasound, her very expensive hand-sewn Italian-made coat disappears from the hospital waiting room. Beth is furiousÑthe coat which was a honeymoon gift from Jake has become a symbol of the coupleÕs destiny together and itÕs loss now takes on inordinate significance.
The next time they see the coat, it’s being worn by Doreen, a homeless woman who is mentally unstable. Beth is near-hysterical about the theft, feeling that her private life has been violated. She becomes paranoid that Doreen is stalking her and begins to fear for her unborn baby. In effect, Beth wants Doreen to disappear from the face of the earth.
Doreen, as she tells her friend John, isnÕt sure if she stole the coat, or just borrowed it but one thing is certain, she is picking up ÒvibesÓ from it and begins to imagine, surprisingly accurately, the lives of the people who own it. Beth has everything Doreen wants: house, husband, baby on the way. But soon Doreen begins to fear that there will be serious consequences for having taken the coat.
As the charactersÕ lives become more closely entwined, the line between reality and fiction blurs. We step into a shadowy world where fantasies erupt: people morph into other selves. They steal babies, prescribe hysterectomies, and kill one another. Each of them will have to confront the shadow side of themselves before being able to hear the song of the morning bird.
p>Mortal Arguments is Sue Sinclair’s second poetry collection. In it, she continues her extraordinary phenomenological investigation of lived experience, addressing with increasing urgency issues of profound philosophical and political importance such as consumerism, privilege, and our ability to respond to the suffering of others. Her voice combines great metaphorical brilliance with the depth one expects of a much older writer. Her poems will remind readers by turns of Rilke and Heine: urgent, sorrowing, ecstatic. This is an important book by one of Canada’s finest young poets.
Roses
Not because it is sufficient, but because
we subsist on light, and what doesn’t
cry out to be noticed? There’s something here
you might recognize, but you’re not sure; still, you’re willing
to risk it: the loss of everything, seen and unseen,
the before and the after. It doesn’t depend on you
but you move toward it. Because as long as there’s a moment
here or there, why not arrange a few roses
in a jar, give thought to their listlessness, how they gather
the room about them yet think nothing of it, how each
thorn persists, how they have made a purpose
of holding still? Then you remember
the necessary and sufficient. This isn’t it,
but you don’t know where else to begin.
Engaged and entirely engaging, her acerbic wit tempered by grace and good humour, Holdstock writes about war; about the conundrum of being Canadian; about reading in all its forms and, centrally, about the vocation, vexations and triumphs of writing in a time when the lessons of the past seem to have been lost. At the heart of this collection is Holdstock the writer, animating us in discussions about the creative process while assessing the actions and images of writing, politics, film, travel and art.