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Beautiful imagery infuses this collection of lyrical poetry from a rising Indigenous poet steeped in the rich culture of her ancestors.
Through poems that celebrate the overlooked beauty in the everyday or that mourn human incursions upon the natural world, Fiona Tinwei Lam weaves polythematic threads into a shimmering tapestry that reveals the complexities of being human in an environment under threat. Inspired by Pablo Neruda’s Elemental Odes, this wide-ranging and diverse collection plays with the yin and yang of everyday existence, employing lyricism, narrative, humour and an occasional dash of irreverence and fun through visual play with text and typography.
Everyone has a dog story, from the salesman at Home Depot to the passenger on a plane who confesses about the scar on his face. The poems in Mahoney?s third collection explore the concepts of identity and ownership through rich linguistic textures and voices. From a boy?s fascination with Tom Terrific and Mighty Manfred to uniquely imagined Biblical dogs, Off Leash delves into the anguish of dogs loved and lost, and the joy of homecoming.
Winner, 2018 League of Canadian Poets Gerald Lampert Memorial Award
Longlisted, 2018 League of Canadian Poets Pat Lowther Memorial Award
Otolith — the ear stone — is a series of bones that help us to orient ourselves in space. In Otolith, Emily Nilsen attempts a similar feat in poetry: to turn the reader’s attention to their relationship to the world, revealing an intertidal state between the rootedness of place and the uncertainty and tenuousness of human connection. Born in the fecundity of British Columbia’s coastal rainforest, these poems are full of life and decay; they carry the odours of salmon rivers and forests of fir; salal growing in the fog-bound mountain slopes.
This astonishing debut, at once spare and lush, displays an exquisite lyricism built on musical lines and mature restraint. Nilsen turns over each idea carefully, letting nothing escape her attention and saying no more than must be said. Combining a scientist’s precision and a poet’s sensitivity, Otolith examines the ache of nostalgia in the relentless passage of time.
A powerful diptych juxtaposing our rootedness in family love with a report from the precipice of planetary disintegration.
Sue Goyette’s outskirts is a tour de force. Its originality lies in Goyette’s refusal of despair, her conviction that the connections among people, their conversation, curiosity, empathy and awe, can help us see a way forward. Her aim is to find energy in human love, a way to walk the darkness rather than hide from it. This book will name you, and frighten you; make you laugh, and arm you for what is to come.
… Leave the gossip to the rivers. Photographs will be buried at the base of diseased trees. All eyes are distractible, smiles are especially alluring. The sump-pump
can’t get rid of the water and god, I am told, is a canoe-shaped hole in all of us. Books, those old grandmothers, are losing their teeth. Stay focused. Those aren’t stars, they’re
flashlights. Add, don’t divide. Love best those who have forgotten how. There are no favorites in this dark. Now scatter.
— from “Resist”
Death, desire, and divination are the threads running through Jónína Kirton’s debut collection of poems and lyric prose. Delicate and dark, the pieces are like whispers in the night – a haunted, quiet telling of truths the mind has locked away but the body remembers. Loosely autobiographical, these are the weavings of a wagon-goddess who ventures into the double-world existence as a mixed-race woman. In her struggle for footing in this in-between space, she moves from the disco days of trance dance to contemplations in her dream kitchen as a mother and wife.
With this collection, Kirton adds her voice to the call for the kind of fierce honesty referred to by Muriel Rukeyser when she asked, What would happen if one woman told the truth about her life? The world would split open. Kirton tells her truth with gentleness and patience, splitting the world open one line at a time.
Emilia Danielewska’s debut book of prose-poetry reveals the dead. Divided into four parts, Paper Caskets proposes a poetics of the box — as coffin, as prose parameters of the page, as photograph, and as state of mind and body in the face of death. From the act of photographing the dead, to mourning the dead, and to preparing for death that is coming, here is work startling in its clarity, which exposes, as a photograph does, the complicated relationship humans have with mortality.
Paper Caskets looks beyond grief to see the dead as dynamic places where memory and body collide, where flesh rots and fluid seeps and we de/compose prose-poetry.
Therese Estacion survived a rare infection that nearly killed her, but not without losing both her legs below the knees, several fingers, and reproductive organs. Phantompains is a visceral, imaginative collection exploring disability, grief and life by interweaving stark memories with dreamlike surrealism.
Taking inspiration from Filipino horror and folk tales, Estacion incorporates some Visayan language into her work, telling stories of mermen, gnomes, and ogres that haunt childhood stories of the Philippines and, then, imaginings in her hospital room, where she spent months recovering after her operations.
Estacion says she wrote these poems out of necessity: an essential task to deal with the trauma of hospitalization and what followed. Now, they are demonstrations of the power of our imaginations to provide catharsis, preserve memory, rebel and even to find self-love.
Growing up during the 50s and 60s in small town Alberta, Pam was keenly aware, by the age of nine, that she was a lesbian. And she also knew well to hide this about herself. Pam would search for books on the “The Island of Lesbos”, only to return from the library with a copy of Little Women. In between the vast spaces of dust and dugouts, she grows up and grows old, playing her saxophone in deep, blaring notes. Age is a constant marker throughout these poems for an otherwise long and lonely time of waiting for queer rights, for acceptance, for love.
Poet Tina Biello unearths just about everything from beneath the Alberta ground-dinosaur bones, a family’s firstborn, missing cows. A voice from within the Prairies, Playing into Silence is a look back at a dry time in lesbian identity.
A best-of collection from one of Canada’s most ambitious poets
Problematica — a scientific term used to describe species that defy classification. See unidentifiable.
George Murray is a strange beast. Lauded as one of Canada’s leading poets, his work has been published around the world, but here at home, he has never really “fit in” with his contemporaries. By turns archly formal and thoughtful, insouciant and hilarious, each of his six books seems intent on staking out its own identity, standing alone in stark contrast to all others.
Yet, in this judicious selection of new and selected poems spanning Murray’s 25-year career, we see threads and patterns emerge like fractals. From early narrative poems to lyrical explorations of the metaphysical to investigations of the colloquial and contemporary, Murray’s work roams a landscape that includes everything from happiness to regret, love to loss, doubt to faith, anxiety to acceptance.
This collection not only represents the best of Murray’s earlier poems, but also surprises readers with a section of never-before-seen new work, revealing a life spent wrestling with what it means to arrive, live, and leave. Problematica is a considerable body of poetry from a mind that obsessively wanders the edges of thought and language, working to identify what boundaries may or may not exist.