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The voices of Blue Marrow sing out from the past and the present. They are the voices of the Grandmothers, both personal and legendary. They share their wisdom, their lives, their dreams. They proclaim the injustice of colonialism, the violence of proselytism, and the horrors of the residential school system with an honesty that cuts to the marrow. Speaking in both English and Cree, these are voices of hopefulness, strength, and survivance. Blue Marrow is a tribute to the indomitable power of Indigenous women of the past and of the present day.
More than twenty years since its first publication, this critically acclaimed collection is available in a redesigned edition, including an all-new interview with its celebrated author, Louise B. Halfe – Sky Dancer.
Translated from French by Howard Scott
In this, her third volume of poetry, this Aboriginal writer from Quebec again confronts the loss of her landscape and language.
On my left hip
a face
I walk
I walk upright
like a shadow
a people on my hip
a boatload of fruit
and the dream inside
women and children first
“A cry rises in me and transfigures me. The world waits for woman to come back as she was born: woman standing, woman powerful, woman resurgent. A call rises in me and I’ve decided to say yes to my birth.”
Buoyancy Control, the latest collection of poems from Vancouverite Adrienne Gruber, presents a fascinating culmination of land and sea, mind and body, in linguistic form. Metaphors of oceans, lakes, and other bodies of water (as well as the creatures that inhabit those spaces), swim and swirl their way through Gruber’s languid poems, which are divided into two evocative sections that explore themes of sexuality, sexual identity, and queerness, while confronting the feelings of loss and longing found in relationships, and the chance glimpse into a new life, while still recovering from a painfully failed connection.
Buoyancy Control is an honest, at times humorous, and revealing look inside the mind and body of a woman manoeuvring through experiences of longing, loss, and the fluidity of sexual identity, presented in a powerfully feminist and unapologetic poetic voice, from one of Canada’s most promising young writers.
A deeply scouring poetic account of the residential school experience, and a deeply important indictment of colonialism in Canada.
Many of the poems in Louise Halfe’s Burning in This Midnight Dream were written in response to the grim tide of emotions, memories, dreams and nightmares that arose in her as the Truth and Reconciliation process unfolded. In heart-wrenching detail, Halfe recalls the damage done to her parents, her family, herself. With fearlessly wrought verse, Halfe describes how the experience of the residential schools continues to haunt those who survive, and how the effects pass like a virus from one generation to the next. She asks us to consider the damage done to children taken from their families, to families mourning their children; damage done to entire communities and to ancient cultures.
Halfe’s poetic voice soars in this incredibly moving collection as she digs deep to discover the root of her pain. Her images, created from the natural world, reveal the spiritual strength of her culture.
Originally published in 2016 by Coteau Books, Burning in This Midnight Dream won the Indigenous Peoples’ Publishing Award, the Rasmussen, Ramussen & Charowsky Indigenous Peoples’ Writing Award, the Saskatchewan Arts Board Poetry Award, the League of Canadian Poets’ Raymond Souster Award, and the High Plains Book Award for Indigenous Writers. It was also the 2017 WILLA Literacy Award Finalist in Poetry. This new edition includes a new Afterword by Halfe.
“Burning in this Midnight Dream honours the witness of a singular experience, Halfe’s experience, that many others of kin and clan experienced. Halfe descends into personal and cultural darkness with the care of a master story-teller and gives story voice to mourning. By giving voice to shame, confusion, injustice Halfe begins to reclaim a history. It is the start of a larger dialogue than what is contained in the pages.” –Raymond Souster Award jury citation
Canadian poet Shirley Camia presents a harrowing but exhilarating examination of life before adolescence. In a series of razor-sharp sketches, Camia’s piercing observations are offered as a perfectly balanced counter-weight to the sing-song melody of innocence. Camia and Vancouver illustrator Cindy Mochizuki offer an individual reckoning that unpacks for the reader the universal truth that fear and danger respect no age and ignore all boundaries.
The poems in Collecting Silence arc through youth, love and loss, to maturation, aging, peace. Wide travels throughout Asia, Europe and North America bring Narwani face to face with the oppressions of poverty, caste and religion, as well as the seductions of magical new beauty. The poems take the reader down the Chao Phraya River in Bangkok, to Chopin’s garden; a village of untouchables in India, to remnants of the Berlin Wall; from the Pietà and the Mona Lisa to Magritte’s The False Mirror. Always they are grounded in what Narwani can touch, see, love and remember. Growing up in Canada in a Baltic-German family that was forced to emigrate from their homeland of Latvia at the onset of WWII, Narwani strives to retain language, preserve links to the family’s past, a vanished way of life, so it may deepen her own. Always she listens for what connects, what bridges boundaries and separations, for the inner home that sustains and renews her. It is in our silences, Narwani says, that memories, our deepest experiences, talk to us in a “language we all know without speaking.” In this time of non-stop connectivity and chatter, Collecting Silence offers a timely alternative.
Looking deeply into humanity’s interactions with the animal world, Linda Frank considers our fascination with and fear of nature, as well as our exploitation of all species. These poems catalogue not only the beautiful and sometimes deadly complexity of our natural world, but investigate the ways we have sought to understand it, highlighting the struggle of women scientists to push past misogyny. In these poems Nabokov’s butterflies live on beside flea circuses and von Frisch’s bees are as detailed as the habits of the jewel wasp. This is a collection written with a botanist’s eye and a scientist’s attention to cause and effect, both a lament and paean to a world that is vanishing.
Translated from French by Howard Scott
Do Not Enter My Soul in Your Shoes is a poetry collection of great sensitivity. Above all it is a cry from the heart, as if empathy and poetry were dazzled by the eruption of a volcano. Natasha Kanapé Fontaine reveals herself as a poet and Innu woman. She loves. She weeps. She shouts… to come into the world, again. The book is first of all a journey deep inside the self, with joy and love, taking the body on a path to expectation and ecstasy, a quest sustained by incisive, inventive writing, which can leap from impressions of nature to references to a Dali painting. The energy of the images and the power of this luminous, concise language amaze us.
<East and West, Laura Ritland‘s astonishing debut, is a book of visions. These are roving poems drawn to defamiliarizing points of view, and are exquisitely attentive to the way the world exceeds our senses (“Cloud deduced cloud / after cloud and cloud.”) Beckoningly tender, lucid and intelligent, elegaic without being maudlin, East and West explores the thresholds–or “middle ground”–of childhood and family, diaspora and migration, and how new cultural ideas can disrupt traditional perspectives. “My bedroom window an escape hatch / to endless sights of coastal stars.” Ritland takes the measure of herself”I’m an integer of my own society”–in one of the most distinctive and beautifully turned styles in Canadian poetry.
Winner: 2019 Pat Lowther Memorial Award. Finalist: 2019 Gerald Lampert Award