Robert Kroetsch Series – serie

Jenna Butler draws on her own experiences of her grandmother's disappearance into senile dementia to reassemble a sensual world in longpoem form that positively crackles with imagery and rhythm. Identities and memories flow and flicker as she strings together fragments of narrative into stories that comprise one woman's life. It entwines her disappearing life with that of the persona of the woman's granddaughter through a choreographed confusion of identities: of she's and I's. Few poets could execute this with convincing solemnity, while simultaneously recovering the dignity of the sufferer and her loved ones. Butler does. Poetry lovers, critics and scholars, and readers who crave a deft style charged with honest emotion should read Wells.

you can't stop it. everyone's expendable, James. everyone's replaceable. even you. especially you. In a penetrating, violent, sexy, and often hilarious apocalypse, a world-famous superspy meets his demise at the hands of an audacious, painstaking poet. Kimmy Beach fuses popular culture and narrative poetry to astonishing effect in this, her fifth book. Feasting on the tropes, traps, and types of the James Bond mythos and doubling back on the incendiary narrative of Nikos Kazantzakis' The Last Temptation of Christ, Beach and her cast of loved-and-left Bond Girls dismantle the man and his mysteries. Fans of Beach's tenacious poetry and readers seeking redemption in explosive narrative and fearless wit will love The Last Temptation of Bond.

Through mesmerizing forays into characterization, voicing, and narrative technique, and with a clean economy of style rare even in short fiction, Astrid Blodgett conjures the moral and existential freight of her fully fledged characters in the throes of realistic moments. From the fascinatingly unhinged hero of "Getting the Cat," to the dreamy survey of prairie landscape and childhood experience of "New Summer Dresses," to the fatal irony of "Ice Break," readers will be hooked from first sentences and carried along on crisp prose. You Haven't Changed a Bit shimmers with the energy of a first book while affording readers the subtlety, complexity, and range of an accomplished master of the genre.

would you believe me when i make consorts of alphabet runaways & stayathomes i have rounded up where they wandered all over the page Dennis Cooley masterfully extends the genre of the abecedary to explore his curiosity of the limitlessness of human communication. With linguistic wit and complexity, his poetry carries the reader through the historical developments of the alphabet. He pries open letters and words to play with both their immediate meaning and the possibilities within the words themselves, creating surprises as he explores spelling, sound, syntax, and pronunciation. After reading Cooley's abecedarium you'll never look at language the same way. Lovers of experimental poetry as well as those interested in linguistic play or the history of language will relish the rapid-fire shifts and musicality of Cooley's newest collection of poetry.

Melissa Morelli Lacroix explores the love and longing, loss and pain, grief and healing found in the music of Frédéric Chopin, Clara Schumann, and Claude Debussy in a series of poetic cycles that respond to each composer’s work. Lacroix writes with her ear finely tuned to the music of death and decay, to the harmonies and discords of music, nature, and human desire. Always, in A Most Beautiful Deception, we find the chords of love and devotion being torn apart by the deterioration of the body. Lacroix uses her research into the composers’ lives to add layers and nuance, thus creating a complex triangle between the reader, the music, and the poet. Woven almost imperceptibly into these accounts of three composers and their respective fights against the decay of the body and the mind, lies the thread of the poet’s own relationships and loss.

"We're not exactly scene-stealers, so you don't hear much from us shy folk-and that's usually how we like it." -Elizabeth Zotova, "My Dear X" The pages of this anthology are filled with personal essays and poems of thoughtful musings, raw memories, and humorous self-examinations by authors and poets who have been labelled by the world-teachers, parents, and peers-as shy. Here, they proudly own up to their shyness, and their message is clear: they don't need to be "cured"! Why should they, when nearly half of North Americans consider themselves shy? Editors Naomi K. Lewis and Rona Altrows have enlisted writers from across the continent and have created a moving anthology that will appeal to all, either because we are shy or because we know someone who is. Contributors: Rona Altrows, Debbie Bateman, Wade Bell, Alex Boyd, Janis Butler Holm, Brian Campbell, Weyman Chan, Lorna Crozier, Mike Duggan, Ben Gelinas, Elizabeth Greene, Vivian Hansen, Elizabeth Haynes, Steven Heighton, Jennifer Houle, I.B. Iskov, Eve S. Krakow, Shawna Lemay, Naomi K. Lewis, Shirley Limbert, Carol L. MacKay, Micheline Maylor, Don McKay, Stuart Ian McKay, Bruce Meyer, Jeff Miller, Dhana Musil, Lori D. Roadhouse, Kerry Ryan, Sydney Sharpe, Natalie Simpson, Sylvia Stopforth, David Van Buren, Aritha van Herk, Russell Wangersky, Cassy Welburn, Madelaine Wong, Elaine Woo, and Elizabeth Zotova.

"I wanted this to be a narrative. So finally Jean-Luc went all the way: every line in the script a quotation from somewhere else. Every blessed line. Love doesn't die. It's people who die. Love just goes away." -from "NOUVELLE VAGUE / New Wave (1990)" Stephen Scobie celebrates "the greatest film director of his age" with poetry exploring 44 of Godard's films. Subtle yet profound unities play from poem to poem. Characters, locations, images, and the generous use of quotation jump-cut and recur to send the imagination reeling through the larger works of both artists. Readers will be seduced to linger within the writing and encouraged to seek beyond, to Godard's own oeuvre. The book is sharply envisioned and carefully cadenced so as to delight readers who may not be familiar with Godard's films. Those already acquainted with Godard's work will find At the limit of breath a most rewarding experience.

Merging poetry and historical records, Zits masterfully (re)creates a poetic view of the Frog Lake Massacre of April 2, 1885. His collage and cut-up techniques challenge the histories penned by the event’s recorders and reflect upon the difficult and painful complexities of past and present. He weaves together voices of Métis and First Nations participants, settlers, and military officials, using tape transcripts, historical accounts, memoirs, and footnotes to create a unique, non-narrative historiography of fragmented poetic language. This innovative work of literary montage digs deep into a historic period that continues to garner scholarly and public interest. Readers interested in poetry and Canadian history will find this an intriguing new collection.

as if there could be no other memory a tree invisible remembering itself In as if, E.D. Blodgett takes readers on journeys of contemplation in which he re-imagines the lyric form. Each line leaves the reader breathless as it runs into the next to form a continuous cycle, a continued breath. The delicate syntax of each piece pushes one forward, ever forward. The poems are Dantesque, leading the traveller through a deeper, darker world. As a collection, as if constitutes an ars poetica of Blodgett's Apostrophes series. The poems explore the elements that make up the series-strict metrical patterns, the possibilities of breath, the endlessness and seamlessness of the spoken word, the incantation.

“It’s a losing battle:my words have no chance against time.Sometimes,unable to catch up with imagination,I leave the battle, candle in hand,in complete darkness.”— from “Trying Again to Stop Time"Jalal Barzanji chronicles the path of exile and estrangement from his beloved native Kurdistan to his chosen home in Canada. His poems speak of the tension that exists between the place of one’s birth and an adoptive land, of that delicate dance that happens in the face of censorship and oppression. In defiance of Saddam Hussein’s call for sycophantic political verse, he turns to the natural world to reference a mournful state of loss, longing, alienation, and melancholy. Barzanji’s poetry is infused with the richness of the Middle East, but underlying it all is a close affinity to Western Modernists. In those moments where language and culture collide and co-operate, Barzanji carves out a strong voice of opposition to political oppression. Readers will return to his work again and again, just as viewers return to a favourite painting. “Like contemporary poets Taslima Nasrin, Adonis, Yehuda Amichai, and Shuntaro Tanikawa, Barzanji’s is a voice in which the native willingly mutates into the global.”— Sabah A. Salih, Translator

“As soon as she was gone from this earth, I felt an overwhelming need for more of her. I had to find her again. But how do you find someone after they’re gone for good?”After her mother succumbed to a rare form of dementia, Myrl Coulter turned the eulogy she had written for the funeral into a series of meditations on absence. The result is fifteen personal narrative essays that move through the vacations, holidays, special occasions, and ordinary days each year brings. Coulter reaches for the mother who is gone, yet ever-present, no matter where she is or what she is doing. In every captivating detail of Coulter’s world, A Year of Days offers readers an intimate odyssey of experience and catharsis.

Like the ever-widening universe, Standard candles expands on Alice Major’s earlier themes of family, mythology, and cosmology, teasing out subtle wonders in form and subject. Her voice resonates through experiments with old and new poetic forms as she imbues observed and imagined phenomena—from the centres of galaxies to the mysteries of her own backyard—with the most grounded and grounding moments of human experience. In Standard candles, readers will find an emotional dimension that seamlessly intersects with the dimensions of space and time. Fans of Alice Major will enjoy seeing her work through familiar themes, while readers new to her poetry will discover unexplored universes.Alice Major emigrated from Scotland at the age of eight, and grew up in Toronto before coming west to work as a weekly newspaper reporter. She served as Edmonton’s first poet laureate and has been inducted into the city’s cultural hall of fame. A widely-published author, she has won many distinctions. Her most recent book is Intersecting Sets: A Poet Looks at Science, which received the Wilfrid Eggleston Award for Nonfiction as well as a National Magazine Award gold medal. Her website is www.alicemajor.com.Let us compare cosmologiesThere is a beginning and a middle.There is an arc of narrative.There is a word, a large engraved initial.There is imperative—a cause, a god. Or not.There is an end. A purpose.Or maybe none. There is a plotwith reasons, reason. There is a circus,a theatre stage of space and time.There are equations at the bottomor the top. There is a pantheonof matter, motion, scattered photons.And the questions every universe expects:what came before? What happens next?

100 days... 100 days that should not have been... 100 days the world could have stopped. But did not. For 100 days, Juliane Okot Bitek recorded the lingering nightmare of the Rwandan genocide in a poem—each poem recalling the senseless loss of life and of innocence. Okot Bitek draws on her own family's experience of displacement under the regime of Idi Amin, pulling in fragments of the poetic traditions she encounters along the way: the Ugandan Acholi oral tradition of her father—the poet Okot p'Bitek; Anglican hymns; the rhythms and sounds of the African American Spiritual tradition; and the beat of spoken word and hip-hop. 100 Days is a collection of poetry that will stop you in your tracks. Foreword by Cecily Nicholson. It was the earth that betrayed us first it was the earth that held onto its beauty compelling us to return it was the breezes that were there & then not there it was the sun that rose & fell rose & fell as if there was nothing different as if nothing changed

"My emptiness will not befrenetic with the frictionof my father's silencesbut still as the unmarked gravesof his many forgotten selves"—From "Salt"A cycle of poems, Sleeping in Tall Grass takes an unsparing look at a painful, sometimes abusive, yet strangely redemptive family story enfolded within the body of the Canadian prairie itself—at once physical, historical, and metaphysical. These intensely personal poems reflect the complex relationships between sound and space, language and silence. Treating time as more layered than sequential, they reflect a process of organic composition distilled from Therrien's iterative observations and utterances. This is writing that reaches "into the very grain of existence"—a sonorous re-presentation of the human presence on the dispassionate but eternally giving plains.

Lisa Martin’s new poetry collection seeks the kind of lyric truth that lives in paradox, in the dwelling together of seeming opposites such as life and death, love and loss, faith and doubt, joy and sorrow. Here readers will find a range of moods, tones, and subjects, as well as both traditional and contemporary forms—from sonnets to prose poems. This is a collection imbued with the light of an enduring, if troubled, faith. With its focus on spirit, ethics, and how to live well, Believing is not the same as Being Saved offers a tender meditation on the moments that make a life.There’s a way of speaking as if the difference matters, as if the road home is finite—everything begins and ends somewhere, like your hand in mine, or how last light fractures in the limbs of pine—while beyond my window, a coyote follows a trail into the dusk that only it can see. — from "Map for the road home"

By turns quirky, startling, earthy, and hope-filled, Micheline Maylor’s poems slip effortlessly through topics ranging from what we give up as we age to regrets for love that has passed, the interplay between the animal world and human thought, and the myths we append to ourselves and others. An expansive, conversational voice underscores the poet’s technical mastery as her subjects turn from love to hope to fearlessness. Maylor asks readers to perceive how we inhabit our selves, how words construct us. Little Wildheart is rich with challenge and surprise.I check the box on the government forms: Caucasian. No boxfor colonized, for the 1/16th bred. Just the double helix of my DNA,my ability to sun-brown, and my own green-eyed childrenof the voyageur, river visions still caught in their irises.We’re born out of a long ago season.Everyone is sure of place and race. Blood and semenmixed in dirt and cervix, convex and enchanted by muskrat’s eerie smile,dark truth furred and matted, stroked by a river paddle.Let that long tooth bite now in the land of the race riots,negro, and redskin, the underground railroad,and the Indian village.Let the name Pontiac take new form and hit the road,the righteous mile where judgement and boundary blurs,especially on matters of compositionblood, bone, and relations.—from “Detroit Zoo bathroom 1977”

first snow falling slowhangs in the aira curtain drifting therethickening sight—“Winter”In this new collection, Douglas Barbour experiments with what he calls “rhythmically intense open form.” Listen. If presents technically innovative poetry that invites the reader to join in some serious play. Barbour’s vivid, ekphrastic poems engage an ongoing conversation among artworks—not only classic paintings but also popular music—while his lyric poems astutely, accessibly evoke places, moments, and feelings. This is poetry that takes up language both as the already-said and as a playground for brilliant technique. Leaping from love to landscapes, politics to jazz, Keats to Milne to Monk, these poems yearn to be spoken aloud for the pure joy of sound.

Gisèle Villeneuve’s short stories test the elastic pull between passion and terror. For inspiration, Villeneuve turned to her personal history to examine what lures urban dwellers outdoors, to test themselves against peaks and valleys. Using the overarching metaphor of mountain climbing, she plays with form, language, and narrative to reveal our fears, our loves, our passions. Rising Abruptly is a perfect companion for anyone who likes to travel, loves a climber, or simply glories in the allure of the mountains."Even the unassuming day trips deliver their moments. The whiteouts. The going off route. Scrambling back down on rock coated with verglas. Neither of us liking it one bit, but resolutely descending. Focusing on the moment that could change everything with one misstep. The four-hour scramble that begins on a sunny summer morning, stretching into the night to a seventeen-hour epic. There are such days, and they can happen an hour’s drive from Calgary on a relatively small mountain.Back to comfort, talking up a storm. Doing the post-mortem. Watching the tempest, still so real in our minds, relief and excitement printed on our windburned faces. Together, building story, across time and across silences.Back to comfort then acquires a whole new meaning when you bear the land deep in the bone."From “Assiniboine Crossroads”

“Shh, my Nuala. I am with you. Today I shall teach you the newness of you.”As the Engine breathes life into Nuala, her gaze falls on Teacher-Servant, the chosen one. He alone will be able to hear her thoughts and interpret her emotions. But soon Teacher-Servant starts to worry that Nuala will be able to give away her thoughts freely. Set in an atypical dystopian world, Nuala is startlingly original and inventive, echoing the work of Margaret Atwood, José Saramago, and Kazuo Ishiguro. Beach’s dark, fearless imagination has created a time and space that are at once remote and strange, but absorbing and deeply credible. Nuala leaves the reader with much to consider about the nature of love, possessiveness, jealousy, envy, and autonomy.

I woke up with Moses Henry’s boot holding open my jaw and my right eye was looking into his gun barrel. I heard the slow words, “Take. It. Back.” I know one thing about Moses Henry; he means business when he means business. I took it back and for the last eight months I have not uttered Annie Mukluk’s name. In strolls Annie Mukluk in all her mukiness glory. Tonight she has gone traditional. Her long black hair is wrapped in intu’dlit braids. Only my mom still does that. She’s got mukluks, real mukluks on and she’s wearing the old-style caribou parka. It must be something her grandma gave her. No one makes that anymore. She’s got the faint black eyeliner showing off those brown eyes and to top off her face she’s put pretend face tattooing on. We all know it’ll wash out tomorrow. — from "Annie Muktuk" When Sedna feels the urge, she reaches out from the Land of the Dead to where Kakoot waits in hospital to depart from the Land of the Living. What ensues is a struggle for life and death and identity. In “Kakoot” and throughout this audacious collection of short stories, Norma Dunning makes the interplay between contemporary realities and experiences and Inuit cosmology seem deceptively easy. The stories are raucous and funny and resonate with raw honesty. Each eye-opening narrative twist in Annie Muktuk and Other Stories challenges readers’ perceptions of who Inuit people are.

Secrets aren’t good for families. — from “Big Luck Island”In The Left-Handed Dinner Party and Other Stories—a collection of new, delightful, distinctive short stories—everyone is missing something or someone; every family is riven by secrets and absences. From “The Remedy,” a tale of revenge and justice, to “The Smart Sisters,” a story of tricky family dynamics, Coulter’s narratives portray relationships, loss, and what we learn in the aftermath of death. Ghosts, echoes, memories, regrets...Coulter’s characters are haunted in many ways. With style and sweep that hints at Lynn Coady and Alice Munro, Myrl Coulter is a strong, fresh voice in contemporary Canadian fiction.

Alice Major observes the comedy and the tragedy of this human-dominated moment on Earth. Major’s most persistent question—“Where do we fit in the universe?”—is made more urgent by the ecological calamity of human-driven climate change. Her poetry leads us to question human hierarchies, loyalties, and consciousness, and challenges us to find some humility in our overblown sense of our cosmic significance.Now, welcome to the Anthropoceneyou battered, tilting globe. Still you gleam,a blue pearl on the necklace of the planets.This home. Clouds, oceans, life forms span itfrom pole to pole, within a peel of airas thin as lace lapped round an apple. Fairand fragile bounded sphere, yet strangely tough—this world that life could never love enough.And yet its loving-care has been entrustedto a feckless species, more investedin the partial, while the total goes unnoticed.— from “Welcome to the Anthropocene”

Rain Shadow is a collection of poetry that explores the fraught relationship between the natural world and humans yearning to connect with something greater than themselves. The poems range through destabilized lives and landscapes, fathoming presence and absence, transformation and oblivion. They outline the major questions of our time as the poet crisscrosses western Canada and the Pacific Northwest. Witty, playful, serious, and heartsore, Rain Shadow seeks to understand the space in which people and nature are inextricably entwined.I walk like a bear—I have a bear’s gait—but the gate to the bear’s mind is closed.—from “The Bear and the Wind”

Waiting, that most human of experiences, saturates all of our lives. We spend part of each day waiting—for birth, death, appointments, acceptance, forgiveness, redemption. This collection of thirty-two personal essays is as much about hope as it is about waiting. Featuring literary voices from the renowned to the emerging, this anthology of contemporary creative nonfiction will resonate with anyone who has ever had to wait. Contributors: Samantha Albert, Rona Altrows, Sharon Butala, Jane Cawthorne, Weyman Chan, Rebecca Danos, Patti Edgar, John Graham-Pole, Leslie Greentree, Edythe Anstey Hanen, Vivian Hansen, Jane Harris, Richard Harrison, Elizabeth Haynes, Lee Kvern, Anne Lévesque, Margaret Macpherson, Alice Major, Wendy McGrath, Stuart Ian McKay, Lorri Neilsen Glenn, Susan Olding, Roberta Rees, Julie Sedivy, Kathy Seifert, Cora Siré, Steven Ross Smith, Anne Sorbie, Glen Sorestad, Kelly S. Thompson, Robin van Eck, Aritha van Herk

There is beautyin the teacuplike dressesrequiring crinolineor beaded pursestoo small to carryanything but anger.—from “Inheritance”Marita Dachsel’s third poetry collection explores parenthood, love, and the grief of losing those both close and distant. In the tradition of Karen Solie and Suzanne Buffam, and with a touch of Canadian Gothic, Dachsel’s poetic skills unfold in a variety of brief and expansive forms. Authentic and controlled, full of complexity and disorder, her poems offer release despite their painful twists and topics. Readers across generations will find kinship in Dachsel’s grief-fuelled and vulnerable words.

In this collection, E. Alex Pierce enters the territory of memory embedded in landscape where “language tied to the land” evokes the cadence of tidal rivers and creates a fluid world. She traces the fragmented childhood beginnings that lead to the formation of a young artist who moves from music, through theatre, to poetry. The passionate relationships and complex juxtapositions of art and performance that form an artist’s life find voice here in the symphonic structure of the long poem, the provocative individual prose poems, and the final stretched sonnet sequence that interrogates a lost love, “Still. Shimmering in the morning wind. And gone.” These fiercely poised works are layered and rich, with sensuous attention to line and breath: a major work from an accomplished poet.And in that space of summer afternoon, the image born of soundand light inhabits all her blood and bone, the mind ignites. She seesthe fire – space for her is stage now, theatre is the flame. She sees itburning all the way back to the Sable River, the lamp, the voices,the two old people, in the dark,without wall or roof or postor beam –and even as her father buries refusein the cellar hole, turns all this under, sheseizes it, picks up her torch,and runs.—from the title poem

In the arena, she shot cigarettes and coins from her trusting husband’s hand. Some women wished she would miss.—from “Little Sure Shot”Kat Cameron’s poetry illuminates the unsung perspectives of the women of the West, creating a compelling narrative that reflects the poet’s own struggles with sorrow. She conjures ghosts and weaves together insights on loss, memory, and the impacts of boom and bust.

Social Justice PoetrySpoken-word poet Valerie Mason-John unsettles readers with potent images of ongoing trauma from slavery and colonization. Her narratives range from the beginnings of the African Diaspora to the story of a stowaway on the Windrush, from racism and sexism in Trump’s America to the wide impact of the Me Too movement. Stories of entrapment, sexual assault, addictive behaviours, and rave culture are told and contrasted to the strengthening and forthright voice of Yaata, Supreme Being. I Am Still Your Negro is truth that needs to be told, re-told, and remembered. Foreword by George Elliott Clarke.I was your NegroCaptured and sold I am still your negroArrested and killed—from “I Am Still Your Negro”

You lie awake,needlessly fingeringthis patchwork guilt.Remorse, a codeyou live by; distress callsfor someone to blame.—from “Threads” Following the deaths of her Mennonite grandparents, Angeline Schellenberg began exploring their influence on her life. Her elegiac love letter to them articulates her grief against the backdrop of their involuntary emigration. She artfully captures the immigrant identity, vital to Canadian culture, in poems that draw on events both personal and global: war and famine, dementia and cancer, hidden sacrifice and secrets. Her poems captivate with themes of ancestry, memory, resilience, and forgiveness. Fields of Light and Stone is a reflection on how family history shapes and moves us.