Robert Kroetsch

"I returned to the same respiratory therapist for my annual checkup. I told her that her words to me, 'You look good for your age,' had inspired a book. 'Wow!' she said. 'You wrote a whole book about that?' 'Twenty-nine kick-ass writers wrote it,' I said. She gave me a thumbs up." From the Preface This is a book about women and ageism. There are twenty-nine contributing writers, ranging in age from their forties to their nineties. Through essays, short stories, and poetry, they share their distinct opinions, impressions, and speculations on aging and ageism and their own growth as people. In these thoughtful, fierce, and funny works, the writers show their belief in women and the aging process. Contributors: Rona Altrows, Debbie Bateman, Moni Brar, Maureen Bush, Sharon Butala, Jane Cawthorne, Joan Crate, Dora Dueck, Cecelia Frey, Ariel Gordon, Elizabeth Greene, Vivian Hansen, Joyce Harries, Elizabeth Haynes, Paula E. Kirman, Joy Kogawa, Laurie MacFayden, JoAnn McCaig, Wendy McGrath, E.D. Morin, Lisa Murphy Lamb, Lorri Neilsen Glenn, Olyn Ozbick, Roberta Rees, Julie Sedivy, Madelaine Shaw-Wong, Anne Sorbie, Aritha van Herk, Laura Wershler With wit and wisdom, women writers challenge ageism through essays, short stories, and poetry. "Vulnerability and honesty are found in these pages, and raw power too. Readers will cheer these brave writers on as they refuse to allow stereotypes to smother their voice and experience." "Just as aging women can be invisible in our society, they're often invisible to our cultural curators. This collection brilliantly addresses that blind spot, with wisdom, humour, and fine writing." # 9 on Alberta Bestsellers list, May 30, 2021 # 1 on Calgary Herald Bestsellers list, June 5, 2021 # 8 on Alberta Bestsellers list, June 6, 2021 # 2 on Calgary Herald Bestsellers list, June 12, 2021 # 9 on Calgary Herald Bestsellers list, June 20, 2021 #10 on the Alberta Non-Fiction Bestsellers list, June 27, 2021 #7 on the Edmonton Non-Fiction Bestsellers list, June 27, 2021 #5 on Calgary Herald Fiction Bestsellers list, July 3, 2021 #10 on Edmonton Non-Fiction Bestsellers list, July 11, 2021 #9 on Edmonton Non-Fiction Bestsellers list, August 15, 2021 "Altrows stated that her wish for young readers is that through this anthology, they will get a sense of what it is like to be in the mind and body of an older woman.... By sharing pieces from women who have had first hand experience with aging, readers are able to better understand the effects of the ageist ideals our society upholds." Megan Gervais, The Gateway, November 23, 2021 [Article at https://thegatewayonline.ca/2021/11/you-look-good-for-your-age-challenging-ageism-through-writing-the-gateway] "Altrows reached out to 29 writers identifying as women in their middle to advanced age, a call that resulted in this engaging collection of fiction, non-fiction and poetry… There is much to be savoured here. Buy the book." Jannie Edwards, Alberta Views Magazine, November 1, 2021 [Full review at https://albertaviews.ca/look-good-age-anthology/] "This is a brilliant collection of women's writing about aging, some of which shows reluctant acceptance, some of which shows reinvention of oneself." "This is a brilliant collection of women's writing about aging, some of which shows reluctant acceptance, some of which shows reinvention of oneself." Annie Wesko, Freefall Magazine, Spring 2020 Although unified in subject, the style, tone, and mood of each piece varies widely, combining to create a poignant patchwork of protest and peace-making, of lamentable losses and celebratory gains.... In addition to these writers' grief, rage, and resignation, there is also joy, peace, and anticipation regarding the years to come." Melanie Power, Canadian Literature, June 2022 [Full review at https://canlit.ca/article/agents-against-their-erasure] #6 on Calgary Non-Fiction Bestsellers list, January 25, 2024 #6 on Calgary Herald Non-Fiction Bestsellers l

Social Justice Poetry Spoken-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 Negro Captured and sold I am still your negro Arrested and killed -from "I Am Still Your Negro" Strong, voice-driven poetry explores the broader experience of the African Diaspora, and taboos within taboos. "I Am Still Your Negro takes no prisoners. With sheer brilliance, Valerie Mason-John creates poems that burn Babylon and Rome; bring you to tears; make you shout hallelujah. Her voice is that of the lamenting mother, vengeful goddess, triumphant warrior, compassionate lover, a cool ruler with a pure heart. I am left with only one conclusion about this book: it is a tour de force." "I Am Still Your Negro hauls us all up by the collar to face our shared complicity. A lot of damage has been inflicted through racism, sexism, greed. Mason-John opens some wounds in the hope of healing them." "[T]he wide range of Mason-John's vision ... traverses history, geography, and culture.... [Her poetry] is significant for its reappraisal of our collective past, which so often overlooks or writes over marginalized voices and experiences. [Mason-John is] explicit in calling out a hypocritical Canadian multiculturalism that pays lip service to inclusion while simultaneously entrenching systemic biases and processes that maintain a racist and exclusionary status quo." [Full review at https://quillandquire.com/review/the-response-of-weeds-a-misplacement-of-black-poetry-on-the-prairies/ ] "This poetry collection grabs you... Readers are confronted with the violence of the Black experience, from the haunting spectre of slavery to the current and ongoing terrorizing of the Black diaspora at the hands of the police. All of the messy, the painful, the enraging -- what we're conditioned to believe as shameful -- is laid bare for the readers and brought to the fore. Many of these accounts traverse various places -- whether in the U.K., the U.S., or Canada -- and the bluntness and force of her words arrest you." [Full article at https://vancouversun.com/entertainment/books/book-review-i-am-still-your-negro-by-valerie-mason-john] Included on CBC Books's list of top Canadian poetry of the year in December 2020. "The topics range from slavery and colonization to global politics and historical realities, addressing the racialized and gendered intersections of African identity, diaspora, and ancestry…. Mason-John's poetry sheds light on these harsh realities through personal and vulnerable narratives. Their writing also offers hope for our futures by reminding readers of our collective reservoir of power, resilience, and creativity. With these tools in our hands and our ancestors beside us, we may still be negros, but we ain't silent about it no more." [Full article at https://arrow-journal.org/language-and-personal-narrative-in-revolutionary-poetry/] Foreword ix Foreword George Elliott Clarke xiii ID xvii Introduction #Undocumented Back a Yard My Father's Prayer Sticks and Stones #ThisIsAfricanDiaspora Yaata's Lament The Ghost of Thomas Peters I Am Africa African Feet The Windrush I Am Still Your Negro Another One Bites the Dust #MeToo Yaata's Yowl Business Golden Virginia The Villain The Perfect Road The Couplet #MeToo Playing Dead #IfMyPlantsCouldSpeak Yaata's Groan Yellowknife The Binge The VindaLoo Anorectic #Swag Yaata's Manifesto The Front Line Sixty Seconds Stalk Time Motherca

Kasia Van Schaik's debut story collection follows the journey of Charlotte Ferrier, a child of divorce raised by a single mother in a small town in British Columbia after moving from South Africa. Mother and daughter wait out the end of a bad year in a Mexican hotel; a friendship is tested as forest fires demolish Charlotte's town; a childhood friend disappears while travelling through Europe; and a girl on the beach examines the memories of dying jellyfish. The stories traverse the most intimate and transforming moments of female experience in a world threatened by ecological crisis.

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.

Sonja Ruth Greckol's Monitoring Station enters a slipstream of space and planetary language, circling time, embodying loss and longing, generating and regenerating in a faltering climate. Orbiting through a mother's death, a grandbaby's birth, and a pandemic summer, these poems loop and fragment in expansive and empathetic ways. The title poem locates a settler voice revisiting Treaties 6 and 7 and the Métis lands of her Alberta childhood, while the overall collection is tethered to Toronto shadowed by northland prairie. Nimble, energetic, and challenging, the book engages a dense kind of poetic thinking about belonging and responsibility to people and place, within both recent history and far-flung cosmic realities. Falling squarely within a Canadian feminist experimental lyric trajectory, and grounded in bodily, personal, and political experience, Monitoring Station embodies the passage of a damaged world across generations.

You Might Be Sorry You Read This is a stunning debut, revealing how breaking silences and reconciling identity can refine anger into something both useful and beautiful. A poetic memoir that looks unflinchingly at childhood trauma (both incestuous rape and surviving exposure in extreme cold), it also tells the story of coming to terms with a hidden Indigenous identity when the poet discovered her Métis heritage at age 38. This collection is a journey of pain, belonging, hope, and resilience. The confessional poems are polished yet unpretentious, often edgy but humorous; they explore trauma yet prioritize the poet's story. Honouring the complexities of Indigenous identity and the raw experiences of womanhood, mental illness, and queer selfhood, these narratives carry weight. They tell us "You need / only be the simple / expression of the divine / intent / that is your life." There is a lifetime in these poems.

This poignant debut by Gavin Bradley explores the emotional toll of different kinds of separation: from a partner, a previously held sense of self, or a home and the people left behind. The main narrative describes the deterioration of a long-term relationship, interweaving poems dealing with the loneliness of immigration and the anxiety of separation from Northern Ireland, the poet's homeland. These personal poems enter their stories through a variety of characters and places, from dock builders to dogs, from shorelines to volcanoes, to "mouths soft and humming like beehives." Other sections of the collection examine a post-Troubles' experience in Northern Ireland (evoking the lived-experience of growing up with bombs and domineering Catholicism), tell grandfather stories, and show a lasting love for the people, the language, and the land. Separation Anxiety ultimately conveys a message of hope, reminding us that "we'll be remembered for / ourselves, and not the spaces we / leave behind."

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 sound and light inhabits all her blood and bone, the mind ignites. She sees the fire—space for her is stage now, theatre is the flame. She sees it burning all the way back to the Sable River, the lamp, the voices, the two old people, in the dark, without wall or roof or post or beam— and even as her father buries refuse in the cellar hole, turns all this under, she seizes it, picks up her torch, and runs. -from the title poem

There is beauty in the teacup like dresses requiring crinoline or beaded purses too small to carry anything 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.

Deriving is a feminist exploration of the creation of life, of family, and of words themselves. Delisle asks: How does past infertility colour the experience of new motherhood? How do historical voices echo in the present? How does language impact our ways of being in the world? These poems embrace the rich material of mothering with unapologetic honesty, confronting the experiences that some would keep hidden. Fear, anger, envy mix with joy and ultimately hope, as Delisle considers the challenges of conceiving and raising children in both familial and global contexts. Deriving is a poignant, lyrical meditation on longing, place, and embodiment. I watched it freeze up, rafts of white snagging beneath the bridge, frazil ice, pans linked along the shoreline. Inside me my son was building white fat on bone. -from "North Saskatchewan"

You lie awake, needlessly fingering this patchwork guilt. Remorse, a code you live by; distress calls for 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.

Indie Rock candidly focuses on a queer poet/musician's life in Newfoundland and his personal struggles with addiction, OCD, and trauma. This intelligent and punchy collection is steeped in musicality and the geographies and cadences of Newfoundland. With an astute attention to form, rhythm, and aesthetics, Joe Bishop tells an honest and contemporary coming-of-age story about an artist alienated from, but fascinated by, the world he inhabits. Readers dealing with grief and living through recovery will find solace in these poems, as will those conflicted by faith, curious about the rigid confines of masculinity, or yearning to hear a voice like theirs in verse. At its core, Indie Rock is about keeping records, an artist's compulsion to make art, and the power of love and imagination to overcome death. Candidly focuses on a queer poet/musician's struggles with addiction, OCD, and trauma in Newfoundland. Sales Tips: • Indie Rock is a lively new collection from a writer at the start of a strong literary career: a rhythmically savvy, modern, and unafraid queer voice. • Joe Bishop tells an honest and contemporary coming-of-age story of a poet/musician from Newfoundland who is an addict struggling to stay clean while coping with a mental illness, a queer man often at odds with his slippery sexuality and torn apart by past traumas. He examines hookup culture quite openly, while also noting the dangers of sexual exploration and genderfluidity in towns bound by rigid religious codes and toxic masculinity. • The poet discusses relationships with both men and women, life with another musician who commits suicide, struggles with mental health and OCD, and the Newfoundland landscape and culture. • Indie Rock is about keeping records, an artist's compulsion to make art, and the power of love and imagination to overcome death. • In the book, we witness a transformation of the bravado of Al Purdy into the raw honesty of Billy-Ray Belcourt. We see a translation of the delicacies of John Barton into the brutalities of early works by Michael Ondaatje. • It's a punchy and intelligent collection steeped in musicality and the geographies and cadences of Newfoundland. • Indie Rock strikingly straddles a variety of divides and binaries and perceived divisions in the CanLit poetry landscape, all in productive ways. The book's poetics, for instance, mix traditional lyric free-verse with the sonic density common in many contemporary books. The text also uses narrative techniques, vernacular voices, and observational description. Similarly, the book engages Newfoundland as a regional site. • The sheer sound of the writing is fantastic: the writer imbues his poems with cadences reminiscent, in many places, of dancing. Bishop gives astute attention to form, rhythm, and aesthetics. Audience: • Readers dealing with grief and living through recovery will find solace in these poems, as will those conflicted by faith, curious about the rigid confines of masculinity, or yearning to hear a voice like theirs in verse. • A contemporary readership interested in queer identity and sexuality; the struggles between addiction and faith; or discussions of OCD, suicide, grief, and the nature of imagination, will find this collection intriguing. • The book will certainly have a strong East Coast readership, due to the explorations of landscape and Newfoundland cadence and slang in the poems. I Patrick Street on St. Paddy's Day Live at The Battery Carpentry Devil-Ma-Click After a Three-Month Friendship After Our AA Meeting Quitting Conception Bay Woman Don't Worry About Me, Mike II Parade Street Duo (April Fools) Time-Lapse (First Sleepover) Medley for My Banshee Barely Audible Lament Lowdown, Lowdown We Idled at the Ship Boxing Day (Cabin Fever) Ash Wednesday III Remembrance Day Canada Day Pyro Yankee Boys of Argentia Dance Song Farm Museum Fundraiser Heave-Up Song Dirty Newfoundlanders Evening on Livingstone Street Gary

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. Poet Kimmy Beach has succeeded where every Bond villain has failed: to kill 007. Front Flap: Kimmy Beach's The Last Temptation of Bond is a frisky and erudite romp into the world of pop culture icon, James Bond. As 007 comes to terms with his own mortality, the women in his life (and there are many), circle in for the kill. Parodies of pop culture have long been Beach's trademark territory, but what sets The Last Temptation of Bond apart from her previous work is the ease with which she straddles the perceived divide between contemporary pop culture and modernist literature. Raunchy and irreverent, The Last Temptation of Bond will appeal to the rabble and the literary aesthetes. Back Cover: Quote 1: Especially You you can't stop it. everyone's expendable, James. everyone's replaceable. even you. especially you. Quote 2: Making a Vesper Martini for You you pull me to you. I feel the Walther P99 under your dinner jacket. (damn it, I always have a bruise there.) you take my mouth. I taste lemon and dry gin, the precursor to your leaving. the edges of your jacket brush me as you turn to go, the screen door banging behind you. I lock the door, pour myself another, watch The Spy Who Loved Me. looking for the real you. Back Flap: Kimmy Beach is the author of four collections of poetry. Her second, Alarum Within: theatre poems has twice been adapted as a stage play. Kimmy has served as Writer in Residence for the Writers Guild of Alberta, the Saskatchewan Writers' Guild, and the Parkland Regional Library. Her work has appeared widely in journals across Canada and in the UK. She lives in Red Deer. Visit her online at www.kimmybeach.com. Other books by Kimmy Beach: Nice Day for Murder: poems for James Cagney, Alarum Within: theatre poems, fake Paul, in Cars. "Essentially Beach takes away the main thing that's made Bond films international hits for five decades - the vicarious jolt of escapist adventure they provide for our ho-hum lives. So how does Bond cope with this smothering dose of reality?. Readers will have to peruse The Last Temptation of Bond, an imaginative pastiche of poetry, prose and playwriting, to see whether the one-time spy gets his action-packed life back." Lana Michelin, Red Deer Advocate, March 15, 2013 "[Kimmy Beach] has a tremendous skill at drawing readers into whatever world she is creating - we see the characters, we hear them and our senses are starkly aware of their surroundings. Readers truly feel close to what's going on. Honestly, there is little that can compare with her boldness as an author and creativity as an artist. Each word feels like it has been carefully chosen, but at the same time the text clips along with a completely natural feel." Mark Weber, Red Deer Express, April 10, 2013 "The poet's fifth collection is an exploration of [James Bond's] essence, the alchemical composition of his fictional (and physical) allure. The Last Temptation of Bond, however, is far more than an erotic exploration of a beloved character; it is also an examination of the limits of that character, the points at which Bond might become fractured and undone. Beach explores Bond at his most vulnerable, at moments of self-doubt, loathing, failure, and fear (the same way Scorsese treats Chri

"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. Shyness needs no cure, claim the authors of thoughtful, raw, and humorous essays and poems. Front Flap: 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 beyond, creating a moving anthology that will appeal to all, either because we are shy or because we know someone who is. Back Cover: For people who have never thought of themselves as shy personalities, the various voices of "shyness" that richly crowd the pages of this anthology represent a chorus of eloquent witnesses to tell us that perhaps we are all shy, to one degree or another. -Myrna Kostash 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. Back Flap: Naomi K. Lewis's first novel, Cricket in a Fist, was published in 2008, and she was co-writer of Spencer Beach's bestselling 2010 memoir, In Case of Fire. Her story collection, I Know Who You Remind Me Of, won Enfield & Wizenty's 2012 Colophon Prize for Fiction. She is associate editor of Alberta Views magazine in Calgary. Rona Altrows writes fiction, essays, and plays. Her first short story collection, A Run On Hose, won the W.O. Mitchell Book Prize and was shortlisted for the Howard O'Hagan Award for Short Fiction. Her second collection, Key in Lock, was published in 2010. She lives in Calgary. For people who have never thought of themselves as shy personalities, the various voices of "shyness" that richly crowd the pages of this anthology represent a chorus of eloquent witnesses to tell us that perhaps we are all shy, to one degree or another. Yet, we are left with the message that shyness may bring its own reward: that there is a creative power and amplitude in t

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 "The verb esperar means to wait. It also means to hope." -Cora Siré, The Past Was a Small Notebook, Much Scribbled-Upon This diverse anthology of contemporary creative nonfiction explores the universal agony and hope of waiting. "I would buy this book based on the contributor list alone. The essays are well balanced-short mixed in with long, very well-established writers mixed in with new ones, a variety of approaches and styles, and surprising interpretations of the waiting theme mixed in with more expected explorations. Waiting is as strong a collection as I have read." "A great deal of our lives is spent waiting. As humans we wait for public transit and for food at restaurants and food courts... And we wait for longer, more existential things: the birth of a baby, the progression of an illness, the arrival or departure of a friend or family member, acceptance or rejection of a job opportunity, love. In this edited anthology, a broad array of writers...examine various aspects of why and how we wait." # 2 on Calgary Herald's Non-Fiction Bestsellers list, October 6, 2018 # 9 on Calgary Herald's Non-Fiction Bestsellers list, October 13, 2018 # 2 on Edmonton Non-Fiction Bestsellers list, October 19, 2018 "Each of these thirty-two essays is powerful, distinctive, authentic.... I closed this book feeling that I'd been on thirty-two life journeys.... Waiting is not just filling blank time. It is also about courage and love." [Full review at https://www.ottawareviewofbooks.com/single-post/2019/02/02/Waiting-An-Anthology-of-Essays-edited-by-Rona-Altrows-and-Julie-Sedivy] "There's plenty to debate here... These are just a few of the kinds of waiting essayed here, and they are all very much worth reading." Saskatoon StarPhoenix, January 26, 2019 [Full review at https://thestarphoenix.com/entertainment/books/book-reviews-the-literary-history-of-saskatchewan-vol-3-waiting] "Waiting is a universal phenomenon, and in this impressive collection editors Rona Altrows and Julie Sedivy curate a variety of nuanced and distilled personal essays from 32 writers exploring the liminal experiences of people waiting for results, news, change, release or understanding" <ul style="list-style-type:none;" • Preface • Acknowledgments • Burgeoning • 1 Bill of Fare // Susan Olding • 2 Saturday // Anne Lévesque • 3 Waiting for Now: Four Stories // Steven Ross Smith • 4 The Escape // Edythe Anstey Hanen • 5 Waiting for Alexandra // Glen Sorestad • Scope • 6 The Art Hospital, the Floating Hospital, • and the Burning House // Elizabeth Haynes • 7 The Past Was a Small Notebook, • Much Scribbled-Upon // Cora Siré • 8 Beyond the Horizon // Julie Sedivy • 9 Two Women Waiting // Rebecca Danos • 10 Esperando // Patti Edgar • 11 Currents // Alice Major • Moment • 12 Letter of Intent // Rona Altrows • 13 The Next Minute // Jane Cawthorone • 14 Frozen // Lorri Neilsen Glenn • 15 Harder, But Still Not Painful // Robin Van Eck

In a series of poems inspired by Gustav Mahler's Kindertotenlieder, E.D. Blodgett searches for meaning amidst grief. In the contemplative gentleness of his words, he finds the special light children possess in their state of unknowing as they encounter the world. These sparse poems move through acceptance and resignation to the solace that exists in the word. Blodgett's poetry will speak to readers who have experienced loss, are exploring grief, or want to find a way to connect with stillness. as bells that ring through the winter air the clear laughter of children sings in the trees almost like brooks bursting in spring the air stands up its joy unbound the breath of it the bright birth of stars Timeless and powerful poems contemplating eternity, grief and love in a reflective and quiet way. "These seemingly slight lyrical moments of exquisite attention to grief and loss are so clear, so without even a trace of literary ambition, they hover in the mind like scraps of music we can't forget, like the apparitions of innocent spirits, erased, but re-surfacing with irrepressible exuberance, whenever we open ourselves to the world that has gone on without them." "Blodgett's profound poetic meditation explores primordial innocence, the brutalities and betrayals of the current world of experience, and the possibility of an integrated, timeless state of innocence. These poems will break your heart, take your breath away, and give it back again in 'verdant hallelujahs.'"

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 Anthropocene you battered, tilting globe. Still you gleam, a blue pearl on the necklace of the planets. This home. Clouds, oceans, life forms span it from pole to pole, within a peel of air as thin as lace lapped round an apple. Fair and fragile bounded sphere, yet strangely tough- this world that life could never love enough. And yet its loving-care has been entrusted to a feckless species, more invested in the partial, while the total goes unnoticed. - from "Welcome to the Anthropocene" Poetry, science, ecological calamity, and human-driven climate change. Where do we fit in the universe? Notes "Because the universe is big and all but incomprehensible, the average Jills and Joes don't dare ask too many existential questions. It is left to poets to face the truth in those places the rest of us fear to tread. The author of eleven books of poetry and essays, Edmonton's first poet laureate, and a woman comfortable in the realms of math, science, and cosmology, Alice Major is uniquely qualified to guide humanity through perilous ecological times. Thank you, Alice." Foreword Magazine, January 1, 2018 # 1 on Edmonton Fiction Bestsellers list, March 11, 2018 # 10 on Edmonton Fiction Bestsellers list, March 18, 2018 "Alice Major begins Welcome to the Anthropocene by considering all the ways humans have meddled with the environment... The traditional and experimental forms which appear throughout the book reinforce Major's argument...and hint at unseen evolutionary forces at work; rhyming couplets which make up the first poem call to mind the 'base pairs' of DNA, even as they echo Pope's 'An Essay on Man.'... She excels at depicting situations when humans are themselves little more than kind animals, unusually intelligent but never quite intelligent enough, and often confounded by their own place in the ecosphere." Patrick O'Reilly, Maisonneuve, Winter 2017, December 6, 2017 "Poets work like naturalists or scientists. What they do is based on what has gone before. Alexander Pope wrote Essay on Man, one of the most quoted poems in the English language, in the 18th century… This collection is written in Alberta, in the 21st century. Its title poem, "Welcome to the Anthropocene", has the same metre and rhyme scheme, and uses Pope's poem as a platform for a survey of the world the poet sees.… There are a number of other fine poems, of varying lengths, touching a lot of subjects, with influences that seem to range from Gerard Manley Hopkins to a Peterson Field Guide.… The poems are serious, but the reader can expect to have fun reading them." [Full review at http://canadianfieldnaturalist.ca/index.php/cfn/article/view/2087/1968] "There are poems about the workaday world, a poem written in the voice of a mouse, a poem about missing the Muse's house call because the poet-damn hygiene!-was in the shower." Bruce Whiteman, Canadian Notes & Queries, June 1, 2018 "Alice Major is that rarest of beings, a poet whose imagination is fired by science and mathematics.... [W]ith her broad range of sympathies and wide-ranging curiosity we have a sense of inclusiveness rare in contemporary poetry (which often prefers to live in a world of its own), and a comprehensive vision not afraid of dealing with public issues.... This is poetry with a brain as well as a heart--it not only makes us feel but also succeeds in making us think." Roger Caldwell, London Grip Poetry Review, August 6, 2018 [Full review at http://londongrip.co.uk/2018/08/london-grip-poetry-review-alice-major/] "Welcome to the An

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. Full-fledged characters positively crackle in the deliciously realistic situations of these thirteen short stories. Back Cover: Astrid Blodgett's stories are acutely rendered picture-poems of the way the world is. The beauty, the shock, the frissons of love and dread-it's all there. A compelling new voice. - Caroline Adderson "Uncle Rick's there, Dad, look," Janie said. "Where? For Christ's sake, where?" Dad said. He drove forward slowly. I looked too. We'd passed ten or twelve men, some of them in pairs, hunched over holes. They were dark shapes in the white-grey globe. I couldn't see Uncle Rick either. "Keep going, Dad, he's out there, I can see him," Janie said. "Past that guy with the dog." Dad drove on. And then I heard a loud crack, like a gun going off, and the front of the truck tipped forward. It was like those dreams where everything is in slow motion and sounds are muffled and all the people have gone and only you are left. The truck tipped forward, and then the front wheels were in the water. -from "Ice Break" Front Flap: 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. In You Haven't Changed a Bit, Astrid Blodgett lights a fuse. She takes us deep into the country where alfalfa brushes against the skin, where ice and sky merge, where people we've known since childhood live. Powerful fiction has a way of detonating after a book has been set down-these stories snap and burn. - Anne Simpson Back Flap: Astrid Blodgett has an MA in English from the University of Alberta and has received a number of literary awards, including a City of Edmonton Seven Arts Club Scholarship and James Patrick Folinsbee writing prizes from the University of Alberta. Her stories have been read on CBC Radio's Alberta Anthology and published in Meltwater: Fiction and Poetry from The Banff Centre for the Arts, The Journey Prize Stories 24, Alberta Views, The Antigonish Review, and Prairie Fire. Astrid lives in Edmonton with her family. Astrid Blodgett was announced as one of the 12 contributors to The Journey Prize Stories 24. Congratulations! http://www.facebook.com/TheJourneyPrize/posts/10151067884019227 "You Haven't Changed a Bit, a compilation of 13 stories, took 10 years to complete. For the Literary Cocktails reading, Blodgett has picked Ice Break, a story about a family that goes ice fishing on Lake Wabamun. They never start fishing because as they drive on the ice, it cracks and breaks." St. Albert Gazette, April 20, 2013 "These thirteen stories are a breath of fresh air. Blodgett's writing is clean and spare. The stories are intelligently written, and great care has clearly gone into crafting them. Detai

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. Through poetry, Jenna Butler pieces together the life of a cherished grandmother lost to Alzheimer's. Front Flap: 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. Back Cover: At the edge of the hayfield, a flag of corn poppies, sunset lifting their skirts like a Guy Fawkes fire. The hands of your husband and those of your children. You were touched by so many things. -excerpted from "Flesh" Back Flap: Jenna Butler was born in Norwich, England in 1980. She has edited more than thirty books of poetry in Canada and England, and is the author of six short collections, in addition to an award-winning trade book from NeWest Press, Aphelion. She is currently finishing a trio of new short collections: Spindle, Love Letters, and Songs for a Broken Season. Butler is the founding editor of Rubicon Press and teaches Creative Writing and Literature at MacEwan University during the school year. In the summer, she and her husband live with three resident moose and a den of coyotes on a small organic farm in Alberta's north country. "[Wells] explores the structure of the prose-poem, and the prairie narrative stretched out as long as a line can follow. Arranged in poem-sections, the poem-fragments hold up as a series of family photographs either blurry or apocryphal, and write the prairie sentence/long line with exquisite grace." rob mclennan's blog, March 19, 2012 [Full posting athttp://bit.ly/FSaEgs] "The poems use a rich, sensual vocabulary of flora & fauna, delineating each separate item of once loved & now lost local life, now retrieved by the poet to make manifest the world the remembered grandmother can no longer say into being.... Wells is a beautifully sad acknowledgement of the losses all must face, made deeply personal & universal through its sharply observed images of a life now gone. It's a fine example of how to take lyric & shake it into something beyond the merely personal." Eclectic Ruckus, March 23, 2012 [Full post at http://bit.ly/IgulkV] "In a fragmented, sensory assemblage, Butler witnesses her grandmother's disappearance into dementia. The loss of language is not tidy. Post-it notes are found in 'arcane places.'... Wells is a beautiful homage to a beloved grandparent, but also a poignant and gently persistent inquiry into peripheral loss. Butler gets at the difficulty of 'seeing our own lives erased' from another's memory, and how that leaves us 'left doubting, in a deep place, the truth of our own existence.'" Shawna Lemay, Edmonton Journal, April 7, 2012 [Full article at http://bit.ly/HzQUjb]

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. E.D. Blodgett's visceral musings explore the intertwining connection between the human and the natural worlds. "How succinctly Blodgett captures the fragility and incompleteness of human perception, and our powerful yearning to exceed these limitations.... With poetry, it's one thing to read the words; that happens quickly. Comprehending them is a slower process. Blodgett's poetry is unique, however--it forces you to read much more slowly the first time through. No doubt it's the even-paced phrasing, the deliberate and sparse language.... Poems to think about and think about again. To read, put down and consider, then read again." "Blodgett's latest book in his Apostrophes series is two books in one. Both are contemplations of wisdom and identity. The first is a book of poetry-words laid down in measure, printed on paper. Its words are made of artful language.... The second book is an energy field, conjured by a reader reading that first book. Its words are not human language but the ghosts of the earth, conjured by human speech.... Blodgett's consciousness is fluid here. His world moves between book, reader, memory, and earth with the surety of dream.... It is a bold undertaking, this business of bridging a half-century of Canadian poetry. Blodgett does it by making each physical word leave the book of words and enter the mind through the book of energies." [Full review at http://arcpoetry.ca/?p=8188#sthash.NwEPOoUQ.dpuf]

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 Poems that recall the senseless loss of life and of innocence in Rwanda. Foreword, author's note "Bitek's ability to connect with the beauty and pain of human suffering seems supernatural, this ability to give voice to those who seem to have no voices. Bitek wrote this book with her blood and it shows.... Bitek is a gifted seer, she sees tomorrow with a sweet but earthy, guttural voice, voice of the masquerade.... [Bitek] takes the reader to places in the heart that the writer never intended or imagined. That is powerful, how she makes 100 Days a deeply personal journey to each reader." Ikhide R. Ikheloa, Reading and Writing... Loudly, February 29, 2016 [Full post at http://xokigbo.com/2016/02/28/juliane-okot-bitek-100-days-of-hells-anomie/] "Bitek's poems are fierce, directly straightforward and unrelenting, composing her poems in an unadorned manner that increase in tension through the accumulation.... Part of what makes the collection so engaging is in the way she focuses on intimate spaces and details, refusing to utilize the form for a simple re-telling of history (which, frustratingly, so many poets tend to do) but engaging the smaller moments. The witness here is personal and deeply felt, even when she writes on large abstracts, proclaiming in broad gestures, exploring through the lyric a human tragedy so brutal and extensive that it becomes unfathomable." rob mclennan, March 21, 2016 [Full post at http://robmclennan.blogspot.ca/2016/03/juliane-okot-bitek-100-days.html] "The 'Hundred Days' from April to July 1994 witnessed one of the great genocides of the twentieth century and all while the world looked on and did nothing..... The poetry of Juliane Okot Bitek takes you through its villages and churches and lost innocence, relationships where time was measured out in machete strokes and words that made light of indifference and nothing to tie it to but days and the chattering of birds and bayonet sticks and the awful brutality of it all. There are no epiphanies here, no wise men to make sense of it, no Christian sacrifice or saviours, only the memories and a poet who wrote them out for one hundred days lest we forget." The Tara Poetry Blog, June 22, 2016 [Full post at http://thetarapoetryblog.blogspot.ca/2016/06/100-days-juliane-okot-bitek.html] "[H]ow could an event so terrible birth a myriad of powerful words so beautiful in their execution... 100 Days is a deserving tribute to a time when humanity forgot what it meant to be human. Reading the poetry collection is a humbling experience." Sydney Mugerwa, Writivism, August 22, 2016 [Full review at http://bit.ly/2bjmR6r] "The poems...engage traumatised personal memory, suspect the objectivity of official discourse and explore the complications involved in forging a new future. This collection, therefore, does not only add to the ever-growing library of contemporary African poetry, but it does so in ways that will further the postcolonial conversations aroun

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 box for colonized, for the 1/16th bred. Just the double helix of my DNA, my ability to sun-brown, and my own green-eyed children of 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 semen mixed 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 composition blood, bone, and relations. -from "Detroit Zoo bathroom 1977" Quirky, startling, earthy poems reflect the moods of existence. The sequence of making love and not giving a damn, the consequence of falling for and breaking off, these are Maylor's interests, and she canvasses them in indelible and fragile images, and in erudite and earthy language. Micheline Maylor is as endearing as William Carlos Williams and as dangerous as Sylvia Plath. The way the world loves us bubbles up as our desire for each other at first, but in the end that love is our desire's opposite. This is the puzzle: we are born facing away from what we might have; our entire life is learning how to turn around. That turning is the work of this book. And it is beautiful. See with all clarity, and from way up, what the predator knows. Death already hunts. - from "We Are Entirely Flammable" 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. By turns quirky, startling, earthy, and hope-filled, these poems reflect the moods of existence. Little Wildheart is rich with challenge and surprise. # 3 on Edmonton Fiction Bestsellers list, April 23, 2017 "In Little Wildheart, Micheline Maylor writes poems that chart the vagaries of love, its cycles of loss and renewal, followed by a realization about the joy and freedom in reinhabiting the self without outside commitment.... Maylor draws images from an elementary and animal world to reflect the psyche and its spiritual progress. Allusive and elusive, educated and down-to-earth, witty and conversational, these oftentimes rollicking poems are fine-tuned with technical skill and strict formalist measures." (Full review at http://www.prairiefire.ca/little-wildheart-micheline-maylor/?cn=bWVudGlvbg%3D%3D) "... this and other poems are most memorable for how Maylor varies phrases to lure and surprise her reader. If Maylor is playing with the conventions of the lyric sentence, she's playing with the conventions of poetry itself in the book's formal pieces... Little Wildheart is a complicated book of deceptively simple parts." "... fuses the personal and visceral to the mythological and metaphysical. In turns surprising and affective, Maylor's collection presents a bodily, sensory intervention at the intersection between hu

"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. A giant adolescent puppet becomes self-aware in a dystopian world of love and treachery. While it is a highly original tale, many of its themes -- alienation, the search for understanding and companionship, and struggle for independence -- are universal…" "From the start, the book has the power to take a reader on a journey that is wonderfully image-laden.... [You] get the feeling that every single word has been meticulously chosen... It's always polished but crackles with authenticity." # 1 on Edmonton Fiction Bestsellers list, March 19, 2017 # 2 on Saskatoon Fiction Bestsellers list, April 8, 2017 # 7 on Edmonton Fiction Bestsellers list, April 23, 2017 "... Beach's spare, poetic prose swept me away from the present world of mad dictators into a magical timeless realm like the sweet books of my childhood. I was transported and found myself rationing each page near the end, because I did not want to leave Beach's fictional world. Highly recommended, even if you don't like puppets, poetry or fables. It's all about the craft and the way Beach spins a sharp sensuous story..." # 7 on Edmonton Fiction Bestsellers list, September 24, 2017 "Nuala: A Fable, by Alberta writer and editor Kimmy Beach, describes a dystopian world where Nuala, a giant puppet, and her Teacher-Servant explore their city and their relationship while Nuala gradually becomes aware of her own complex inner terrain…. Nuala is a departure for Beach, who is well known as a poet… Beach admits to some trepidation about how the book may be received. 'But it's too late now. She's out there, stomping around and demanding attention. Come what may.'"

"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. Canadian author re-examines her life following the harrowing loss of her mother to dementia. "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. "The book spans a single calendar year, but Coulter says what it's really about is the process of living through the same dates and events, time and time again, even as our experiences of them change dramatically as we age." [Full article at http://bit.ly/1E0p6TF] On the Edmonton Journal's Bestsellers list (Edmonton Nonfiction) for the week of May 8, 2015 #3 on the Edmonton Journal's Bestsellers list (Edmonton Nonfiction) for the week of May 22, 2015 "A Year of Days is light without ever treading Hallmark grounds, funny while still acknowledging the gravitas of death and full of the remembered warmth or loss of not only the 'special' days, but also the days that lie around them by the hundreds: days at the lake, Mexican holidays and days in which we simply move and live. 'Keep moving,' Coulter writes. 'Movement is life.'" Gut Feelings Twenty-Eight Magnificent Mexican Sunsets Those Pesky Natal Days Death by Dementia Perforated Hearts Giant Bunnies Don't Deliver Chocolate Eggs Gym Interrupted, Again The Parent Days May Long is Tee Time Lakes I Have Known Cornucopia Soup Survival Gear Wearing Black Music on the Hill Current Crossings Epilogue Author's Note Acknowledgements

"Most long poems contain lyric occasions. Here is an amazingly sustained lyric that contains traces of other commodities." -Robert Kroetsch Sheila Murphy and Douglas Barbour extend their singular poetic vision of that elusive third I/eye in Continuations 2. The new lyric voice sustained (within) these labyrinthine verses does so by virtue of its authors' pitch-perfect collaborative process. For ten years they have kept their song alive via email, pulsing jazz-like variations and haunting repetitions back and forth from Arizona to Alberta, all the while adhering to that taut stanza of six lines. Readers who admire Barbour and Murphy's past innovations, or any poetry that gracefully exceeds its reach, will enjoy Continuations 2. Two seasoned poets pulse jazz-like variations back and forth via email, from Alberta to Arizona. Front Flap: Sheila Murphy and Douglas Barbour extend their singular poetic vision of that elusive third I/eye in Continuations 2. Their pitch-perfect collaborative process sustains a new lyric voice (within) these labyrinthine verses. For ten years they have kept their song alive via email, pulsing jazz-like variations and haunting repetitions back and forth from Arizona to Alberta, all the while adhering to that taut stanza of six lines. Readers who admire Barbour and Murphy's past innovations, or any poetry that gracefully exceeds its reach, will enjoy Continuations 2. Back Cover: "Most long poems contain lyric occasions. Here is an amazingly sustained lyric that contains traces of other commodities." -Robert Kroetsch half moon/lighting the nonce naked thought trans lated littered across dimensions that hidden buds of this formerly remembrance lying drowned and growing under ground spondee's ground break weighs what buds that cross dimensioned thought would weigh remembering a highlit moon pressed into service -an excerpt from "xlviii" "Douglas Barbour and Sheila E. Murphy extend their ... refined and joyful collaboration, which begun in November 2000 via email, in Continuations 2. Very evident in this flowing is the sense of delight that each writer must have had in the interchange, which results in a third, distinctive, voice.... Word play is extended over stanzas in a relentless rhythm that captivates and invites a circling back..." Shawna Lemay, Edmonton Journal, April 7, 2012 [Full article at http://bit.ly/HzQUjb] "The lyric voice throughout these tight, six-line stanzas is sustained by a 10-year collaborative process in which the poets have kept their song alive via email, back and forth from Arizona to Alberta." Prairie Books NOW "[Barbour and Murphy] extend their sequence of ongoing collaborations, producing a rare second volume of a contemporary collaboration between two poets.... Part of what makes this ongoing collaboration interesting is in the experience behind both writers, as Douglas Barbour has been publishing trade poetry collections since the early 1970s, and Sheila E. Murphy has been publishing nearly as long as well, and their collaborative efforts would be difficult to compare to much of their already-published individual works, truly creating something that is different in tone, style and voice.. This second volume continues the play of call and response, where Barbour and Murphy meet in the middle." rob mclennan, July 7, 2012 [Full post at bit.ly/N3IHIW]

Kasia Van Schaik's debut story collection follows the journey of Charlotte Ferrier, a child of divorce raised by a single mother in a small town in British Columbia after moving from South Africa. Mother and daughter wait out the end of a bad year in a Mexican hotel; a friendship is tested as forest fires demolish Charlotte's town; a childhood friend disappears while travelling through Europe; and a girl on the beach examines the memories of dying jellyfish. The stories traverse the most intimate and transforming moments of female experience in a world threatened by ecological crisis. Longlisted for the Scotiabank Giller Prize 2023. "She rests her hand on my arm, her eyes clear and serious. We could be the same person, encountering each other in a fragment of time lived twice." Balancing an ambivalent relationship to the past, and fear and hope for the future, Kasia Van Schaik's portraits of female interiority, immigrant identity, dislocation, and desire trace the transitions from girlhood to adulthood, grappling with the struggle to understand what it means to live on earth. Balancing an ambivalent relationship to the past, and fear and hope for the future, Kasia Van Schaik's portraits of female interiority, immigrant identity, dislocation, and desire trace the transitions from girlhood to adulthood. "Full of diffuse longing and hallucinatory memory, these stories shimmer and compel like half-remembered dreams. Van Schaik's poetic linked collection brings the reader on an evocative journey across decades and continents." Saleema Nawaz, author of Songs for the End of the World "We Have Never Lived On Earth contains a bright humour, a sharpness. There's an authentic, human thrumming behind these stories. With their focus on mothers, fathers, and daughters, these linked stories explore how initial models of care feed into our romantic loves. Kasia Van Schaik captures the souring phase of relationships, where the glue has become brittle and two individuals begin to lean away from each other. Yet the characters forge their way through these moments of dislocation with grace, humour, and the perfect amount of self-awareness, which makes the reader laugh out loud, or nod knowingly. At least it did for me." Eliza Robertson, author of Demi-Gods "Few writers can work with memory as vividly as Kasia Van Schaik-fusing fiction and remembrance with confidence, sensitivity and the shivering logic of dream. These are stories that glitter and then duck away from view, like a swimmer half-discerned. A beautiful book you can't forget." Sean Michaels, Giller Prize-winning author of Us Conductors and The Wagers "A riff on loneliness. Exquisitely written. Profoundly moving. A must read." Rosemary Sullivan, OC, award-winning author "In Kasia Van Schaik's visionary stories a generation will recognize its rootlessness and frail sense of futurity, as well as its desire for grace. We Have Never Lived On Earth is a beautiful collection that explores all realms of experience-what we see and what we dream. I couldn't get enough of this work's exquisite precision and depth." Seyward Goodhand, author of Even That Wildest Hope "We Have Never Lived On Earth speaks to many readers' own experiences of childhood, adolescence, and adulthood, which involve the difficult work of figuring out how to move through loss and grief and, ultimately, how to be most alive in all of our imperfections. I have read many novels and collections that capture the feeling of threat the world can impose upon female bodies, but the quality of Van Schaik's prose made these experiences alive, honest, and corporeally real throughout each story in a way I had not encountered before." Heather Jessup, author of The Lightning Field and This Is Not a Hoax: Unsettling Truth in Canadian Culture "Traversing themes such as transience, loss, painful attachment, and belonging, Kasia Van Schaik's stories recall literary icons Mavis Gallant and Alice Munro, though wit

The late sun falls slowly into the afternoon of your eyes, and there it pauses as one might pause to take a breath -from "Lost" Nothing Is But You and I, the breathtaking final volume in the Apostrophes series, reveals poet E.D. Blodgett at his most accomplished. Lyrical grace meets exquisite technique as Blodgett fathoms intimacy, knowledge, and being. The poems allow us to listen to one side of an intimate conversation; yet despite this inward focus, the speaker looks up and out at a larger world, inviting us into contemplations of loss, time, memory, and the ineffable other. Majestic poems look up and out at a larger world; inviting, contemplating, deliberating, reflecting. "Blodgett was perhaps the greatest living master of prosody in Canadian poetry, and this lifetime of craft is evident in every poem. Apostrophes VIII is exceptional-the culmination of one of the most distinguished poetry careers in Canada in the past fifty years." "These are accomplished, weighty poems that demand full immersion on the part of the reader. They are dense and metaphysical with their own signature rhythm which often feels like waves crashing onto a shore, or a pebble thrown into water, and the rings from its weight moving outward into wider circles." # 6 on Edmonton Fiction Bestsellers list, March 04, 2019 # 2 on Edmonton Fiction Bestsellers list, March 10, 2019 "E.D. Blodgett's final book Nothing Is But You and I completes his life long poem Apostrophes with a rumination on life, fragility, and time....[T]he poems formally reflect on time and duration, death and whatever comes next as our human matter unravels." [Full review at https://canlit.ca/article/something-attentive/] Contents 1 Water 2 Trieste 4 Glass 5 Shells 6 Questions 7 A Woman Sitting 8 Winter's Night 9 Palestine 10 Skating 11 Aubade 12 Arriving 13 Hand 14 Lost 15 Creed 16 Church 17 Thresholds 18 Prayers 19 Departure 20 Beaches 21 Openings 22 Singer 23 Sarabande 24 Dreamt 25 Stream 26 Disappearing 27 Temple 28 Tapestry 29 Winter Dreams 30 Eternities 31 Barely 32 Rooms 33 Herons 34 Vodník 35 Frieze 36 Pool 37 Fountain 38 Last Apostrophe 39 Sentinels 40 Opened 41 Moonlight 42 Surrendered 43 Weeping 44 Heaven 45 Beginning 46 Predestined 47 Soror 48 Ghosts 49 Grasped 50 Boys 51 Swan Song 52 Encompassed 53 Bowl 54 Abiding 55 Flowering 56 Unfolding 57 Echoed 58 Star 59 Apple Trees 60 Waiting Again 61 Sky 62 Dissolution 63 Echoing 64 Seeking 65 Polaris 66 Childhood 67 Undecided 68 Epilogue

Gospel Drunk follows a speaker's journey to find clarity and identity as he contemplates his Catholic upbringing and struggles with loneliness and alcohol addiction. Sharp, intoxicating imagery and a minimalist aesthetic combine in these poems to explore some of our darkest and strongest belief systems, dismantling them with wit and wisdom. Poignant boyhood memories of hockey coaches as "dragons in suits" collide with critiques of "the broken bicycle of recovery." A child's fingers interlace to form a gun during mass and Hulk attends an AA meeting. Boldly honest, Gospel Drunk is for all who seek humanity in a world where the personal and the political are equally complicated. He drops a match on his wound to set fire to his blood. At a certain temperature even the Devil cools. -from "Drowning Man Sonnets" A poet's struggle for identity and salvation in the face of religious dogma and alcoholism. "The poems in Gospel Drunk transfigure hockey bros, hazing rituals, and the warmest parking lot in Canada into a bioluminescence of interconnections. By drawing upon the personal, Chafe is able to write with pointed authority to the central struggle of our age: the structural abuses of faith. Redefining the dowry of religion's aftermath, Chafe crafts work out of reason and imagination, showing how metaphor can help carry us across the turbulence of our times." "At the heart of Aidan Chafe's impressive sophomore collection is a bare-knuckle interrogation of organized, patriarchal religion. Languishing in the space between faith and doubt, the speaker of Gospel Drunk gives himself over to awe and observation, exploring violence, masculinity, addiction, and structural injustice in lyrics that are sonorous, deliberate, and searching." # 10 on Edmonton Poetry Bestsellers list, October 10, 2021 I 2 Disciple 3 Galileo 4 Trust 5 Helmets and Gloves 6 Social Development 7 Ode to the Hockey Bro 8 Churches, Trucks and Shallow Pools 10 Driving Through Kitsilano 11 Suburban Lament 12 Two Lips 13 Fall of the Empire 14 Meditation on Enclosed Space 16 This Might Be the Warmest Parking Lot in Canada 17 Another Seasonal Poem 19 We Are Bioluminescent 20 Passage II 22 Struggling Protagonist 23 Indelible 24 Sizing Up 25 The Light Salesmen 26 Prayer in the Age of Unreason 27 Mary Too 29 Sacrificial Sons 31 Eternal Optimist 33 Land in the Name of Taking 34 Suffering as Spectacle 35 Holes 36 Hard Rain 37 Sonnet in Defence of Lust 38 Nothing Written Is Sacred III 40 Gun Journal 47 Safety Rules 48 The Strongman 49 The Activist 50 Eyes of the Assailant 51 Good Men 52 Colonial Chokehold 53 Fallen 54 Superhero AA 55 Epistle of the Inebriate 56 Empty 57 Ode to Ruin 58 Drowning Man Sonnets 73 Notes 75 Acknowledgements

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" Poetry that explores our fraught relationship with nature: playful, serious, heartsore. "[Rain Shadow] fits easily into my shelf of place-aware, place-engaged, self-examining literature from the North American West.... Bradley has a real knack for the potent ending. His final lines simultaneously turn his poems and sprout from them, meaning that each piece in this collection tugs you to stop a minute before you move to the next page.... He slips between registers with ease, blending humour with story with reflection..." [Full review at http://boughtbooks.blogspot.com/2018/08/nicholas-bradley-rain-shadow.html] "Told in four parts, the collection centers thematically around the way humans move through, connect to, and are ultimately alien from our surrounding landscapes.... The poet's haunting voice floats through existential thoughts, alternating between the abstract and the visceral.... In a time when the effects of climate change ravage our natural landscapes and the disconnect between citizen and cosmos seems ever widening, the poems are prescient.... Bradley sketches scenes ever on the edge of disaster, where all life is precious and profound, and rests in the shadow where little rain falls and true growth is a struggle, not to be taken for granted." [Full review at https://www.splitrockreview.org/rain-shadow-review] "Bradley describes and appeals to massive elemental forces and beings, like earthquakes and avalanches, bears and killer whales.... Figurative language and wordplay, often subtle, appear throughout the collection....Some of these poems celebrate wildlife and wildness; some highlight the uneasy and destructive relationships we maintain with our fellow earthlings". [Full review at https://scholars.wlu.ca/cgi/viewcontent.cgi?article=1509&context=thegoose] "[In his] stunning first collection....Bradley's impulse isn't to rub our faces in mortal mud, it's to see survival-even glimpses of transcendence-through that mortality..." I - The Same Mountain Twice The Same Mountain Twice Gray Wolf Pass Glacial Suite Appleton Pass: Watershed Nocturne Song of the Notch Song of the Wind-Loaded Ledges Larches on the Continental Divide Whiteout in May Some Goats Fat Salmon in the Clearwater River Sea to Sky Port Angeles Quadrilateral Fall Classic 2 - Thisness Thisness Ecosystem Square Schist First, Failure Failure Revisited Eclipse A Premise in Kamloops Spell for the Museum of the Canadian Rockies To Gordon Burles Sunplay on Mountains In the Spirit World, on a Rock High Meadows, September Salmon Reconsidered: Goldstream River In Winter's Nick Seasonal For the Millionth Time Maundy Thursday Invocation 3 - Instructions for Travel Instructions for Travel Teachers and Pupils A Lesson on Mount Rexford Late August, Nesakwatch Spires Snow Dome On Reading Conquistadors of the Useless, by Lionel Terray Mountain Failure Mount Rundle: Second Attempt: 18 September Avalanche Bulletin At Bozeman International, in Hugo Country Contra Naturam In Midair Transcontinental Cancer magister Cycling The Earthquake On Corporeal Existence 4 - Metamorphoses Metamorphoses The Beas

Micheline Maylor's The Bad Wife is an intimate, first-hand account of how to ruin a marriage. This is a story of divorce, love, and what should have been, told in a brave and unflinching voice. Pulling the reader into a startling web of sensuality, guilt, resentment, and pleasure, this collection asks: what if you set off a bomb in your own house? What if you lose love and destroy everything you ever knew? These poems have a disarming immediacy, full of surprising imagery, dark humour, and the bold thoughts of a vibrant and flawed protagonist. Balancing a need for wildness and the space to dwell, The Bad Wife explores the taut confines of those vivid, earthly pleasures that we all know and sometimes can't escape. I forgot the oath: Do no harm. -from "Yesterday, I Went to the Market" Maylor's The Bad Wife is an intimate, first-hand account of how to ruin a marriage. "These poems will wreck your home, wake you up with their noisy sex, devastate like a Wall Street banker on a Saturday night bender. These poems will sober you up in the morning with the strength of flowers, of prayer flags. These poems understand everything you've lived through. They show you where you live." "Micheline Maylor is Canada's Anne Sexton. To understand The Bad Wife, imagine Sexton on stage in 'cum-fuck-me-shoes,' perhaps chain-smoking, belting out Walt Whitman's lost one-woman show about Helen of Troy. Linguistically inventive, surreal, playful, and ruthlessly honest, Maylor wades into the swamp of divorce, emerging with almost unbearable images of humiliation, devastation, joy, and praise. 'I've been,' she exclaims, 'a home wrecker, / witch, savior, mentor, mother. Let me tell you, I have been all / those things.' In these confessional poems, Maylor-without a whiff of virtue signaling-places her own psyche and body under the microscope, as great artists do." "By turns ornithological, scatological, geological, and meteorological imagery thread the poems together in a firsthand account of a midlife crisis, surreal and psychological, that fascinates with its psychic energy and playfulness." Gillian Harding-Russell, Arc Poetry, June 2023 [Full review at https://arcpoetry.ca/editorials/the-crows-salvage-and-redemption-micheline-maylors-the-bad-wife] # 6 on the Calgary Non-Fiction Bestsellers list, April 11, 2024 Contents 1 How to Become a Bad Wife 2 Epithalamion: The Grand Canyon was a Long Way Down 3 The Mean Game 4 Yesterday, I went to the market 5 The Crow Takes the Body 6 Scrapbook 7 Your Motto 8 The Sleep 9 The Bad Wife's Ankle 10 Two Men 11 How To Become A Bad Mother 12 (N)Ever Thought 13 How to Have Encounters with Foxes 14 The Danger of Georgian Guest Houses 15 The Bad Wife's Clavicle 16 The Pine Siskin 17 And Let's Not Forget Christina Lake 18 The Crow Gives a Body 19 The Bad Wife's Vulva 20 Portrait of My Life as a Nurse Log 21 Guilt 22 Divorce Sudoku 23 So, Say I 24 The Moral Responsibility to be Intelligent 25 This is My 21st Wedding Anniversary 26 Don't Feed the Animals 27 She tells me 28 There is No Word 29 Reasons for My Husband's Inattentiveness 30 Styx and Stones 31 Vagabond 32 How to Be a Bad Ex-Wife 33 Double Fisting 34 Become 35 No Matter the Shape of Things, You are Much Missed 36 Inclement Weather 40 Omen: Calla Lilies 73 Notes 75 Acknowledgements 77 Prologue: On Our First/Last Toast 79 Epilogue

Arborophobia, the latest collection by award-winning poet Nancy Holmes, is a poetic spiritual reckoning. Its elegies, litanies, and indictments concern wonder, guilt, and grief about the journey of human life and the state of the natural world. When a child attempts suicide and western North America burns and the creep of mortality closes in, is spiritual and emotional solace possible or even desirable? Answers abound in measured, texturally intimate, and often surprising ways. The title sequence, named for a word that means "hatred of trees," sassily blurs the boundaries between human beings and Ponderosa pines, reminding us how fragile our conceptual frameworks really are. Another sequence responds to Julian of Norwich's writing and call "to practise the art / of letting things happen." Saints' lives interlace with our quotidian experience, smudging connections between the spiritual and the earthly. Taking a hard look at what we have done to this beautiful planet and to those we love, Arborophobia is a companion for all who grapple with the problem of hope in times of crisis. Arborophobia explores wonder, guilt, and grief of human life and the state of the natural world. "Nancy Holmes' fluent poetic language, her clear intelligence, her deep seriousness, her playfulness, her fierceness, her elegance-all are here. Arborophobia cannot be viewed as anything less than a necessary work, and like all superb books of poetry, it's a trove of imaginative insight, a collection to keep close at hand." Russell Thornton, author of Answer to Blue "From aching poems on dementia to the stunning, layered, multi-voiced 'A Cloth in the Wind, or Being with Julian of Norwich,' Nancy Holmes carefully picks up sorrows and turns them, delicate, entrancing, in her hand. The voice crackles; everywhere in these poems is a mystical or metaphysical sensuality. Arborophobia is remarkable." Tim Lilburn, poet and essayist "Arborophobia, the latest collection by award-winning poet Nancy Holmes, is a poetic spiritual reckoning. Its elegies, litanies, and indictments concern wonder, guilt, and grief about the journey of human life and the state of the natural world." 49th Shelf, February 28, 2022 #8 on the Calgary Herald Non-fiction bestsellers list, May 2, 2022 "Arborophobia is made up of a series of narrative, meditative lyric on trees and dementia, loss and falling, mothers and motherhood, grief and erosion. Holmes writes of breakings, and of breaking apart, from climate to forests to the human ability to endure.... Through long, narrative stretches, she offers poems as companion pieces to climate anxiety, personal loss and the uncertainty of where we sit as a species, thanks in large part due to an array of choices both historic and ongoing." rob mclennan, April 27, 2022 [https://robmclennan.blogspot.com/2022/04/nancy-holmes-arborophobia.html] "'The slow unzipping/ Of the body from time:/ I didn't notice.' Nancy Holmes brings us beautifully observed instances of the natural world, a huge breadth of imagery, and documentation of an intense engagement with the living world. There is wit, and colour, swagger, and texture all played out along these lines, which move and live, brimming with invention." Jury comments, SCWES Book Awards for BC Authors "... Nancy Holmes' brilliant newest collection, Arborophobia, ... [explores] in some deeply philosophical ways the relationship between the natural and spiritual selves and the manifold ways in which one may negotiate the complexities of living a life bound up in both." Neil Querengesser, Canadian Literature, September 1, 2023 [Full review at https://canlit.ca/article/poetry-for-our-time/] • I Orb • 2 The Tribes of Grass • 3 The Milk Chute, an Ode • 6 Spring Shave • 7 Lunolio • 10 Anemone in Cyprus • 12 Saint Lucy • 13 Newborn • II Arborophobia • 16 Ponderosa Pine • 16 I. Gotcha • 24 II. Qualms

"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 Dream-like cadences of international landscapes, human desire, and visions of a loving and wounded poet. Foreword "...it will be easy for readers to connect with Barzanji's writing, because his words seep with humanity's universal emotions and occurrences." On the Edmonton Journal's Bestsellers list (Edmonton Fiction) for the week of May 8, 2015 Today's book of poetry believes that poetry connects us, makes us more human.... Barzanji has been part of an oppressed minority in his own country, an exile, a refugee and an immigrant…. By illuminating his world of exile Barzanji shines a light on the whole world. His poems are witness and journey…. Barzanji has a surprisingly light touch considering the depths he is mining, it surprises the reader again and again.... Jalal Barzanji's story is a familiar one but it is not often shared, rendered into art. These poems shine." "The poetry itself is political, personal and interrogating. It asks questions of governments, of individuals in power and of ourselves as citizens, readers, and artists. While the poems cross boundaries and decades, Barzanji's work is intensely immediate, while always acknowledging the swift passage of time... Barzanji's voice is warm, accessible, and occasionally humorous. He does not shy from the seriousness of politics and war, but reminds us that within those larger spheres beats an individual heart, alone or-one would hope-next to another." [Full review at http://arcpoetry.ca/?p=8993] Nice, intimate, vertical format that works beautifully for the poems, with a simple typographical palette... Benjamin Shaykin, Juror, Association of American University Presses: Book, Jacket, and Journal Show 2016 "The Kurdish question stands tall in our age as yet another emblematic paradigm of the violence enacted on a people in the name of the nation-state. Barzanji's poetry is lovely, with frequent piercing tender moments and visions of the daily and the ordinary. The translation reads smoothly and naturally, highlighting the spoken quality of the poems, the loving and wounded quality of their speaker." Fady Joudah, translator of Ghassan Zaqtan's Like a Straw Bird It Follows Me, and Other Poems, winner of the 2013 International Griffin Poetry Prize ix Foreword Sabah A. Salih xiii Preface Trying Again to Stop Time (2009) 2 Trying Again to Stop Time 4 A Soulful Sunshine 6 Beauty's Fault 8 Smart Poems I 11 Winter Is the Season of Grief 15 Home in a Suitcase 18 The Pocket 20 I Didn't Want to Leave Alone 22 Returning to Autumn I Want To Be Named Home (2007) 24 To Go Back and Back 34 Beyond the Sky Is a Blue Window 36 A Woman Befriends Darkness 37 To Be Free and Lonely 39 Even Autumn Had No Room In Memory

Python Love weaves together experiences of childhood abuse, birth trauma, and recovery from the perspective of a medical doctor who is also a mother. In her debut collection, Shannon Arntfield delves into the many ways in which the body recalls what has been done to it. Long, breathtaking sequences set within medical facilities during labour and delivery are juxtaposed with spare, lyrical reflections on ideas of memory, natural spaces, implicit love, and the relationships between parents and children. Full of precise observations, careful renderings, and visceral originality, Python Love is focused on how the body and mind are inextricably linked, how the past can overwhelm and inform the present, and how recovery is tied to love and connection. Python Love is a collection of free verse poetry weaving together experiences of childhood abuse and birth trauma from the perspective of a medical doctor who is also a mother. Python Love is a collection of free verse poetry weaving together experiences of childhood abuse and birth trauma from the perspective of a medical doctor who is also a mother. "'I remember…becoming one of the machines,' Shannon Arntfield writes in her steely debut collection, an exploration of the brutal sides of medicine and motherhood, where trauma conspires to short-circuit the present. Python Love is a compassionate lament for living in a body that says no." Monica Kidd, author of Chance Encounters with Wild Animals "Python Love holds its lines in isolation-granules of memory spent at the intersections of birth and death, childhood abuse, and moments of healing. Vulnerable and investigative, this book quietly seeks to find meaning in the difficult moments while unflinchingly refusing to look away." Christine McNair, author of Toxemia • Arguing with No One • 1. • Bedrest Lament • Python Love • The Books Said • Tidal Pools with My Mother • Permeable Membrane • On the Pacific Coast with My Father • Hand in Hand, We Brought Back the Ground • Maze Masquerading as a Mangrove Forest • The Woman Beneath the Sheet • Blue and Pink Bottles Representing Children • 2. • The Same Yellow Tiled Walls • 3. • Windless Sea • Child's Play • Clues • Car Wash • Reckoning • Get Away • Swamp Wading • Tickle Attack • When My Daughter Turned Eight • God • 4. • Fallen Horseman • 5. • Apollo • Fatu Hiva • Between Us • The Bridge Between the Mountains • I Have Passed Through • Lichen Sclerosis • The Stone the Builders Rejected • Animal, Misunderstood • Wild Iris • Quiet, rarely • 6. • Alive. Intact. Unharmed. • Acknowledgements

The late sun falls slowly into the afternoon of your eyes, and there it pauses as one might pause to take a breath, - from "Lost" Nothing Is But You and I, the breathtaking new volume in the Apostrophes series, reveals poet E.D. Blodgett at his most accomplished. A masterful lyrical grace meets exquisite technique as Blodgett fathoms intimacy, knowledge, and being. The poems allow us to listen to one side of an intimate conversation between I and Thou; yet despite this inward focus, the speaker looks up and out at a larger world, inviting us into contemplations of loss, time, memory, and the ineffable other. These majestic poems reward deep reading and deliberation. Reflecting the heights of one of the most distinguished poetry careers in Canada, this volume is a must-have for anyone who loves or studies Canadian literature or poetry.

In a series of poems inspired by Gustav Mahler's Kindertotenlieder, E. D. Blodgett searches for meaning amidst grief. In the contemplative gentleness of his words, he finds the special light children possess in their state of unknowing as they encounter the world. These sparse poems move through acceptance and resignation to the solace that exists in the word. Blodgett's poetry will speak to readers who have experienced loss, are exploring grief, or want to find a way to connect with stillness. as bells that ring through / the winter air / the clear laughter of children / sings in the trees / almost like brooks / bursting in spring / the air stands up / its joy unbound / the breath of it / the bright birth of stars.

"The verb esperar means to wait. It also means to hope." -The Past Was a Small Notebook, Much Scribbled-Upon, Cora Siré. 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.

"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.

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.

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 traveler 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.

In Annie Muktuk and Other Stories, Norma Dunning portrays the unvarnished realities of northern life through gritty characters who find themselves in difficult situations. Dunning grew up in a silenced form of Aboriginality, experiencing racism, assimilation, and colonialism; as she began exploring her Inukness, her writing bubbled up to the surface. Her stories challenge southern perceptions of the north and Inuit life through evocative, nuanced voices accented with Inuktitut words and symbolism. As with Alootook Ipellie's work, these short stories bring Inuit life into the reality of the present.

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.

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.

Sheila Murphy and Douglas Barbour extend their singular poetic vision of that elusive third I/eye in Continuations 2. The new lyric voice sustained (within) these labyrinthine verses does so by virtue of its authors' pitch-perfect collaborative process. For ten years they have kept their song alive via email, pulsing jazz-like variations and haunting repetitions back and forth from Arizona to Alberta, all the while adhering to that taut stanza of six lines. Readers who admire Barbour and Murphy's past innovations, or any poetry that gracefully exceeds its reach, will enjoy Continuations 2.

"Freedom is something my father has never known. How do I explain freedom to the ones born bent?" -from "Not Scared." Ella Zeltserman's poetry cuts both ways. The story of her flight from the USSR in 1979-of the young family she brought to Edmonton and the older one she left behind-does "explain freedom to the ones born bent," but it also explains oppression to the ones born free. Deftly modulating language, imagery, and events of past and present, comfort and tyranny, atrocity and family, home and war, Leningrad and Edmonton, she touches readers emotionally, drawing them into the journey. This authentic account of Russian-Jewish immigration to Canada during the Cold War will speak to all who have left their country or who moved far away from home.

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.

In there's more, Uchechukwu Peter Umezurike takes on the rich concepts of home and belonging: home lost and regained, home created with others and with the land, home as "anywhere we find something to love." Giving voice to the experiences of migrant and other marginalized citizens whose lives society tends to overlook, this collection challenges the oppressive systems that alienate us from one another and the land. Carefully built lyric meditations combine beauty and ugliness, engaging with violence, and displacement, while seeking to build kinship and celebrate imagination. Weaving domestic and international settings, salient observation and potent memory, Umezurike immerses the reader in rich, precise imagery and a community of voices, ideas, and recollections. there's more navigates immigrant life with a multifaceted awareness of joy, melancholia, loss, and hope. there's more navigates immigrant life with a multifaceted awareness of joy, melancholia, loss, and hope. Sales Tips: • Uchechukwu Peter Umezurike takes on the rich concepts of home and belonging: home lost and regained, home created with others and with the land, home as "anywhere we find something to love." • The sense of longing that permeates the collection appeals to those who have had to leave a homeland behind, or whose ancestors have done the same, and who navigate their new lives with a multifaceted awareness of joy, melancholia, loss, and hope. • Umezurike examines themes of alienation, migration, citizenship, belonging, diaspora, and racial and social justice. • Some of the poems look at the realities of marginal lives in society; others explore questions about dispossession and the violence of extractive industries. • One of the great strengths of there's more is the poet's use of personal experience to present carefully arranged challenges to oppressive systems. • Umezurike's work connects with a long line of Canadian BIPOC poets who work within the autobiographical lyric form against monolithic, colonial notions of belonging, from George Elliott Clarke to Dionne Brand to Sky Dancer. • Weaving domestic and international settings, salient observation and potent memory, Umezurike immerses the reader in rich, precise imagery and a community of voices, ideas, and recollections. • The poet presents magnificently compact, moving, and beautiful lyric observations, combining well-shaped rhythms, images, and phrases with vernacular. • Umezurike interrogates the possibility (and the necessity) of holding multiple homes, and in a time of vastly increased displacement and immigration, this is a crucial topic. • Overall, the abiding question of the collection is how othering surfaces and perpetuates in our lives, in ways that alienate us from one another, from what it means to be human, and from the natural world that is our home. It also explores ways of building community. At the end of the day, it's a book that looks at what can be overcome in bringing people together, rather than pushing them apart. • Umezurike is a promising writer, and his recent book Double Wahala, Double Trouble has gone on to receive strong critical acclaim. Audience: • Readers of poetry and Canadian literature, particularly those who seek out, celebrate, and engage with autobiographical lyric work. • Readers who come from communities directly impacted by racism and their allies: the poems speak to issues of racial and social justice that fragment, as well as to a deep search for belonging and relationship. I. 1. Home is what the tortoise bears on its back 2. The sea is the bridge 3. The sea grows its circle of stones 4. Wayfarer, you have seen again 5. The morning after the protest 6. On their evening walk through an alley 7. The woman hunches over her walker 8. The wind skulks at my window 9. Seagulls 10. The old way 11. Ahamefula 12. On slicing a mango one midday 13. Slush 14. Neighbours 15. Coyote down the valley 16. Tamarack Shad

By turns joyous and adventurous, melancholy and nostalgic, Michelle Smith's debut collection of poems showcases a wide-ranging fascination with places, people, and story. Smith's limpid and humane handling of an array of themes, emotions, and styles-her Norwegian ancestry, her Canadian Prairie heritage, the significance of family, the fragility of memory, world travel, ekphrasis, myth, and more-exemplifies the lyric self on a poetic grand tour, or pilgrimage, to meet the world. Framed by imaginative travelogues addressed to Greek gods, dear Hermes... offers readers an escape and an entrance-out of time and into the poet's luminous experience. Readers who appreciate clear lyric and fleet voicing will relish Smith's poetry. This Canadian Prairie poet's debut collection is framed by imaginative travelogues addressed to Greek gods. Front Flap: By turns joyous and adventurous, melancholy and nostalgic, Michelle Smith's debut collection of poems showcases a wide-ranging fascination with places, people, and story. Smith's limpid and humane handling of an array of themes, emotions, and styles-her Norwegian ancestry, her Canadian Prairie heritage, the significance of family, the fragility of memory, world travel, ekphrasis, myth, and more-exemplifies the lyric self on a poetic grand tour, or pilgrimage, to meet the world. Framed by imaginative travelogues addressed to Greek gods, dear Hermes... offers readers an escape and an entrance-out of time and into the poet's luminous experience. Readers who appreciate clear lyric and fleet voicing will relish Smith's poetry. Back Cover: dear Persephone, it wasn't the pomegranate, was it? c'mon, confess, 'cause the jig is up. it was words, words, words as delicious as those tart-sweet seeds, wasn't it? -from The traveller writes after a drink or two with Demeter Back Flap: Michelle Smith is a poet and Postdoctoral Research Associate at the University of Strathclyde in Glasgow. She has been writing and publishing poetry for over a decade. "I enjoyed this collection and its combination of classicism, nature imagery and response to myth and to art. I also really liked the choice of form.... This was a collection in which I found poems to soothe my need for imagery and for twists of the language. I was interested in the stories it told and the echoes set going in my mind as I was reading, and I would recommend it to other poetry readers I know." The Indextrious Reader, April 10, 2012 [Full post at http://indextrious.blogspot.ca/2012/04/dear-hermes.html] "This debut collection of poems addresses Smith's Norwegian ancestry, her prairie heritage, themes of family, memory, travel, myth, and more in ways that are joyous and adventurous, melancholy and nostalgic." Prairie Books NOW "The Greek myths that inform dear Hermes... function both as a device for crafting lyric apostrophes and as a model of travel that embraces the newness of otherwhere alongside the promise of imagination. Three pages of explanatory notes attest to the breath of cultural forms Smith engages in this slim volume.... dear Hermes... proves aptly attuned to the inner and outer workings of story." Travis V. Mason, Canadian Literature 218, Autumn 2013

These twelve new short stories from Astrid Blodgett explore the consequences of grief and denial and single moments that change perceptions, lives, and attachments forever. Crisp prose and unexpected plot twists move relatable characters through vivid outdoor settings and interior depths. A child negotiates adult behaviour when an injured dog is put down. An older sister bribes a younger one to go on her first date. A family canoe trip launches from Disaster Point. A woman wants to hurl her granddaughter's birthday cake out the window. This Is How You Start to Disappear shows all the heartbreaking ways we evolve when coping with change or trauma. "After a while, they'll stop talking about her, the way they don't talk about Bri. This is how you start to disappear, she thought." Tension-filled short stories that show all the heartbreaking ways we evolve when coping with change or trauma. Astrid Blodgett is a short story writer from Edmonton / amiskwaciwâskahikan. Her work has appeared in The Journey Prize Anthology, Meltwater: Fiction and Poetry from the Banff Centre for the Arts, and many Canadian literary magazines. She was short-listed for the Writers' Guild of Alberta Howard O'Hagan Award for Short Story, and her first collection, You Haven't Changed a Bit, was long-listed for a ReLit Award, a runner up for the Danuta Gleed Literary Award, and a finalist for the High Plains Book Award for Short Stories. ""New Summer Dresses" … begins as a piece of straightforward naturalism about two girls on summer vacation, only to take a sharp detour into much darker and creepier territory in its climactic stages. Blodgett effectively seeds the ground in the course of the story, while still ensuring that the final pages retain a significant punch. Like the best stories in the collection - "Zero Recall," "Tattletale" - "New Summer Dresses" features a strong narrative line and an undercurrent of astringent irony that results in a propulsive reading experience." from The National Post "Rarely does one encounter such an even collection of beautifully rendered short stories, but such is the case with Astrid Blodgett's fine group of thirteen [You Haven't Changed a Bit]. Although her debut book, the writing is clearly that of a master/mistress of the short story craft. Each is a jewel in its own right." Resource Links magazine "You Haven't Changed a Bit has the complexity and texture you'd expect from a well-established short fiction writer. The fact that this is a debut collection is a remarkable achievement…" The Winnipeg Review "Highly recommended." Dave Jenkinson, editor, CM magazine "Astrid Blodgett's first book of fiction short stories is a bravado performance coming at the beginning of the writer's career, rather than at the end. It speaks of more great things to come." St. Albert Gazette "…each of the stories in You Haven't Changed A Bit is a pitch-perfect gem, characterized by truly graceful and insightful writing…" Brett Lockwood, O' Canada blog Tension-filled short stories that show all the heartbreaking ways we evolve when coping with change or trauma. "This Is How You Start to Disappear is for readers who revel in stories told with both skill and passion, stories with twists, stories without ready resolutions." Rona Altrows, author of At This Juncture "In these precisely paced and deceptively dark stories, Astrid Blodgett sweeps out the dust bunnies of contempt and devastation from the junk drawers of her characters' family homes. These stories do what short stories do best: every word flexes its muscles, every detail teeters on an iceberg of deeper meaning. This Is How You Start To Disappear is a complex and satisfying compilation of unsteady bridge crossings between our childhood and adult selves." Susan Sanford Blades, author of Fake It So Real "This collection is an intimate embrace of the moments and memories that define us. With pitch pe