Shortlisted for the ReLit 2022 Poetry AwardSmart, raunchy poems that are sorry-not-sorry.Sticky, sad, and sultry, Exhibitionist is a merry-go-round circling back to the tender, awkward parts of ourselves. Molly Cross-Blanchard allows her poems to ask the reader out for ice cream, to fart at a dinner party, to sprawl out on a chaise lounge, stare through a dusty skylight and whisper that they think they may love you. And that love will be unmistakably mutual. Mallory Tater, author of The Birth Yard and This Will Be GoodMultiple orgasms appear in the first line of the first poem in Exhibitionist. Multiple orgasms, as a relative image or a practice, elicit everything from mystical worship to moral panic. Molly Cross-Blanchard understands this diametric power. She nods to this power with countless crisp and explicit images throughout her debut collection. Read her poems first to marvel at the well-crafted voicing of sexuality. Read a second time to appreciate Cross-Blanchards beautiful charge of juxtaposition. Again and again, she places the erotic beside mundane so that both are transformed a dirty basement carpet becomes the backdrop of profound intimacy and gas station coffee acts as a symbol of self-discovery. Amber Dawn, author of My Art is Killing Me and Sodom Road ExitIf this book had a fragrance, it'd be a Britney perfume, any one of them really, but with hints of prairie in the dry late-summer, notes of the sweet ocean smell that passes through Vancouver when the wind gets high, and a fabulous pair of overalls. Katherena Vermette, author of River Woman and The BreakOne minute shes drying her underwear on the corner of your mirror, the next shes asking the sky to swallow her up: the narrator of Exhibitionist oscillates between a complete rejection of shame and the consuming heaviness of it. Painfully funny, brutally honest, and alarmingly perceptive, Molly Cross-Blanchards poems use humour and pop culture as vehicles for empathy and sorry-not-sorry confessionalism. What this speaker wants more than anything is to be seen, to tell you the worst things about herself in hopes that youll still like her by the end.
A warning, a movement, a collection borne of protest. In Watch Your Head, poems, stories, essays, and artwork sound the alarm on the present and future consequences of the climate emergency. Ice caps are melting, wildfires are raging, and species extinction is accelerating. Dire predictions about the climate emergency from scientists, Indigenous land and water defenders, and striking school children have mostly been ignored by the very institutions â¿ government, education, industry, and media â¿ with the power to do something about it. Writers and artists confront colonization, racism, and the social inequalities that are endemic to the climate crisis. Here the imagination amplifies and humanizes the science. These works are impassioned, desperate, hopeful, healing, transformative, and radical. This is a call to climate-justice action. Edited by Madhur Anand, Stephen Collis, Jennifer Dorner, Catherine Graham, Elena Johnson, Canisia Lubrin, Kim Mannix, Kathryn Mockler, June Pak, Sina Queyras, Shazia Hafiz Ramji, Rasiqra Revulva, Yusuf Saadi, Sanchari Sur, and Jacqueline ValenciaProceeds will be donated to RAVEN and Climate Justice Toronto.
The definitive survey of an essential feminist poet.In June 2019, Nicole Brossard was awarded the Lifetime Recognition Award from the Griffin Poetry Trust. Rarely has a prize been so richly deserved. For five decades she has writing ground-breaking poetry, fiction, and criticism in French that has always been steadfastly and unashamedly feminist and lesbian.Avant Desire moves through Brossard's body of work with a playful attentiveness to its ongoing lines of inquiry. Like her work, this reader moves beyond conventional textual material to include ephemera, interviews, marginalia, lectures, and more. Just as Brossard foregrounds collaboration, this book includes new translations alongside canonical ones and intertextual and responsive work from a variety of artist translators at various stages of their careers.Through their selections, the editors trace Brossard's fusion of lesbian feminist desire with innovation, experimentation, and activism, emphasizing the more overtly political nature of her early work and its transition into performative thinking.Devotees of Brossard will be invigorated by the range of previously unavailable materials included here, while new readings will find a thread of inquiry that is more than a mere introduction to her complex body of work. Avant Desire situates Brossard's thinking across her oeuvre as that of a writer whose sights are always cast toward the horizon.
A classic feminist novel for a new generation, resonating in a world of increasing radicalization.
bronchia thinkform a bombsightthink periosteum singingparticle falconry workpiecetwo lowcut hills seekingwhat stone isfor bodyis herdalliterationsNight & Ox is a long poem working its interruptions to a degree where it's broken by the will to live. A poem that invokes expansive loneliness, where the poet's emotional response is to endure. A crushed line of astral forms and anatomy in perpetual remove; it is a poem that nurtures vulnerability: some soft-footed embryo sounds against language’s viscera. Night & Ox possesses a feral minimalism for those too tired and too frantic with joy to cope with narrative.‘A fierce, ladderlike cri de cœur – at times a cri de cur – Night & Ox pulses with sawblade nocturnes that gnaw through the very rungs on which they’re wrung. One part Jabberwocky-talkie, one part fatherhood ode, the poem seeks a threshold, where the “mondayescent” gives way to ardour, splendour, even love. Scott is a cosmoglot of the throat’s ravine, and this is his manic, pandemonic article of faith.’ – Andrew ZawackiPraise for Blert:‘Scott takes us down to the basement of words, where sound and rhythm rule, and poets learn their craft. Blert is a strange and gorgeous work of linguistic materialism.' – Dennis Lee
A poem-by-poem revisioning and engagement with Sylvia Plath's Ariel and the towering mythology surrounding it.
An unflinchingly subversive, aversive, conversive poetic look at the underbelly of Canadian settler-colonial experience.
Nothing slips by Brecken Hancock's deft ear as she seductively plumbs the depths of the evolution of bathing, doppelgangers, the Kraken, and the minutiae of family with all its tragic misgivings. The poems in Broom Broom pervert the rational, safe parts of the world to extoll and absorb the sweep of human history.What I mean to say is, the evidence is always there.From where we stand, we confuse lampposts for ghosts.Brecken Hancock's poetry, essays, interviews, and reviews have appeared in several journals, including Event and Fiddlehead. She is reviews editor for Arc Poetry Magazine.
Winner of the 2013 Aqua Books Lansdowne Prize for Poetry (Manitoba Book Awards)If Lisa Robertson were to collide with David Lynch in a dark alley, the result would be a lot like The Politics of Knives. From shattered narratives to surrealistic fantasies, the poems in The Politics of Knives bridge that gap between the conventional and the experimental, combining the intellectual with the visceral. The complicity of language in violence, and the production of stories as both a defensive and offensive gesture, trouble the stability of these poetic sequences that dwell in the borderland between speaking and screaming.She made hyphens and made me use them.From her back she pulled brackets. Saying:"e;These in your throat and these around your neck."e;Jonathan Ball teaches English, film, and writing at two universities in Winnipeg, Manitoba. He is the author of Ex Machina and Clockfire, which was shortlisted for a Manitoba Book Award.
Written by a Second City alum, this genre-bending, multi-character comic play is part graphic novel, part Japanese horror film.
In this much-anticipated new collection, poet and musician Gary Barwin both continues and extends the alchemical collision of language, imaginative flight and quiet beauty that have made him unique among contemporary poets. As the Utne Reader has noted, what makes this work 'so compelling is Barwins balance of melancholy with wide-eyed wonder.' The Porcupinity of the Stars sees the always bemused and wistful poet reaching into new and deeper territory, addressing the joys and vagaries of perception in poems touching on family, loss, wonder, and the shifting, often perplexing nature of consciousness. His Heisenbergian sensibility honed to a fine edge, the poems in this bright, bold and intensely visual book add a surreptitious intensity and wry maturity to Barwins trademark gifts for subtle humour, solemn delight, compassion, and invention.
Pompoms, blackberries and Value Village: Take a stroll through the thoughts of one of Canada's most intriguing poets and thinkers.
In tongues alternately vulnerable, defiant, resigned, and hopeful, The Inquisition Yours speaks to the atrocities of our time war, environmental destruction, terrorism, cancer, and the erosion of personal rights fashioning a tenuous bridge between the political and the personal.
To be human is to cope with knowing. In the early 1960s, Leonard Hayflick determined that healthy cells can divide only a finite number of times. Known as the Hayflick Limit, it sets an unsurpassable lifespan for our species at just over 120 years.Shifting focus between the limits of the microscope and the limits of the telescope, Matthew Tierney gives voice to a range of characters who scrape out meaning in a carnivalesque universe, one that has birthed black holes and Warner Bros. cartoons, murky market economies, murkier quantum laws, Vincent Price, Molotov cocktails, seedless grapes, Area 51 and competing Theories of Everything.
This poem resembles urban sprawl. This poem resembles the freedom to charge a fee. The fee occurs in the gaps. It is an event. It is not without precedent. It is a moment in which you pay money. It is a tribute to freedom of choice.Reality is a parking lot in Qatar. Reality is an airstrip in Malawi.Meanwhile the expressway encloses, the expressway round and around the perimeters like wagon trains circling the bonfire, all of them, guns pointed, Busby Berkeley in the night sky.Expressway exposes the paradox of modern mobility: the more roads and connections we build, the more separate we feel. Sina Queyras has written a bravely lyrical critique of our ethical and ecological imprint, a legacy easily blamed on corporations and commerce, but one we've allowed, through our tacit acquiescence, to overwhelm us. Every brush stroke, every bolt, and nut, every form and curve in our networks of oil and rubber, every thought and its material outcome each decision can make or unmake us.
The Winnipeg of Guy Maddin, the world's foremost cineaste planant, is far from the Winnipeg you'll find in tourist brochures.
Her acclaimed debut collection, The Sleep of Four Cities, announced the arrival of a fully formed, arresting new talent, and the poems in Jen Currins new collection, Hagiography, see her trademark cunning wordplay and entirely contemporary take on the surrealist image moving into new and more personal territory. In a style that regularly pushes lifes barely hidden strangeness into the light, Currins poems present thought as a bright, emotionally complex event, a place where mind and sense and the natural world they move through become indistinguishable elements in a mysterious, familiar, vexing, fascinating, and continuous human drama. There are no saints in this hagiography only ghosts, sisters, spiders, birds This is an anti-biography. It starts with death and ends with birth. In between: life after life.
"Walk thrice where thieves are hanged. Iron your own shirt." With the prisms of varied vocabularies refracting detail and language, the author illuminates the intricacies of communication. She invokes the vocabulary of the institution - the airport, the hospital.
Theatre doesnt have much relevance anymore. Or so acclaimed playwright Darren ODonnell tells us. The dynamics of unplanned social interaction, he says, are far more compelling than any play he could produce. So his latest show, A Suicide-Site Guide to the City, isnt really a show; its an interactive chitchat about memory, depression, and 9/11, a dazzling whirl of talking streetcars, pizza and schizophrenia. And its hilarious.ODonnells artistic practice has evolved into something as close to hanging out as you can come and still charge admission. With his theatre company, Mammalian Diving Reflex, ODonnell has generated a series of ongoing events that induce interactions between strangers in public; the Talking Creature, Q&A, Home Tours, the Toronto Strategy Meetings and Diplomatic Immunities bring people together in odd configurations, ask revealing questions and prove the generosity, abundance and power of the social sphere.Social Acupuncture includes the full text of A Suicide-Site Guide to the City and an extensive essay on the waning significance of theatre and the notion of civic engagement and social interaction as an aesthetic.
Drawing on texts ranging from Thorstein Veblen's groundbreaking "The Theory of the Leisure Class" to "Star Wars" (the nerd Bible) for inspiration, this suite of poems documents the tribulations and insecurities of one's inner geek.
Sequestered on a street in a dry Calgary suburb, our heroine, the House, finds herself embroiled in a stalled love affair with an elusive and alluring Oxfordshire riverbank. In a series of self-contained poems both prosy and lyrical, this work follows this curious and engaging affair, which mysteriously coincides with a slow and gradual flood.
What is the best way to tell a story? This anthology features a collection of essays by writers like Kathy Acker, Dennis Cooper, Nicole Brossard, Daphne Marlatt, Lydia Davis and Kevin Killianon who write on the theme of narration. It also includes forty experimental writers who describe their engagement with language, storytelling, and the world.
Contemporary Canadian poetry got you down? This book of poems operates within the constraints of what the author terms 'synaptic syntax' - poetry that performs the very nature of neuronal activity from the point of view of a mood-enhanced Human Comedy, which, with a quick turn of phrase, or missing neurotransmitter, could become Human Tragedy.
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