Böcker utgivna av Goose Lane Editions

A cache of the brooding imagery and strength characteristic of Gotro's poetry.

A tour de force of comic ingenuity, Unsnarling String features the infamous Everett Coogler poem series.

Sparse and elegant poems by the author of Songs and Dances. A subtle rhythmic sense and distaste for redundancies characterize this volume, which will appeal to readers who appreciate lucid effects and metaphorical economy.

A rigorous selection from Candelaria's earlier books -- Dimensions (Morriss, 1967), Liturgies (Sono Nis, 1975), Passages (Intermedia, 1975), and Foraging (Intermedia, 1975) -- in addition to substantial new work, provides the first single-volume edition drawn from the full range of this highly inventive poet's career to date.

This is not a book of illustrated poetry, but an artist and a poet comparing notes -- communicating by their own method and enjoying the coincidences.

The Sickness of Hats is an early collection by a member of the writing ensemble Pain Not Bread.

Inspired in part by classical literature and Scripture, Elizabeth Harper's poems are literate, charged, and demanding in their emotional and intellectual range. Octaves of Narcissus is her first collection of poetry since Games Like Passacaglia.

Welch's book reveals a deep understanding of the Maritime countryside and man's relationship with nature.

Traditions is a collection of poems that combine humour and sensitivity from a feminist perspective.

Gophers and Swans is a trenchant and powerfully feminist collection of poetry by the author of The Ordinary Invisible Woman.

The beauty and evolution of an intriguing art form.The Montréal Botanical Garden's collections of bonsai and penjing are among the best in North America, including more than 350 trees, some dating from the 17th century. For the first time, these stylized horticultural creations have been brought together in a single volume, illuminating the evolution of the aesthetic tradition of this Asian art form.Featuring beautifully rendered photographs of many of the miniature trees in the collection, Bonsai Penjing: The Collections of the Montréal Botanical Garden offers an up-close view of these extraordinary specimens. Miniaturized reflections of their natural environment, these works of horticultural art translate the world views of bonsai and penjing masters from different philosophical traditions. In a few instances, they integrate contemporary North American vision of the ancient Asian traditions.Author Danielle Ouellet interviewed many of the artists who created these works, in some instances travelling to Asia to meet with some of the contemporary masters of this art form. As a result, she brings to life an historical portrait of Bonsai and Penjing, their underlying aesthetic principles, and an understanding of how to view and interpret the captivating living culptures of these traditions.

"Twisting and turning against the soul-sicknesses of late-capitalism, Chris Hutchinson's new collection of poems scrolls through myriad moods and aesthetic guises, by turns hallucinatory, despondent, and serene. Authenticity and artifice collide and collude. Political and personal boundaries blur as do the categorical divisions between content and form. Imagine an architecture of breezeways, a freeway of exit ramps, a literature of repurposed literary conventions, the past "re-presented" in endless waves of arrival. Here we find a nostalgia for modernist disjuncture, there a yearning for symbolist depth, and everywhere a fondness for surfaces which, ironically, coax the reader to peel back the stylish veneer. Haunted by a weird range of historical personages, while traveling from Houston to the moon and several places in between, the lyric "I" bears witness to its own endless destruction and reconstitution. At once escapist and socially engaged, Hutchinson's poems enact the ephemeral and fluid nature of our linguistic experiences, tracing those ecstatically tortuous processes by which we might sometimes find, even in the midst of loss, the value of our lives beyond the spheres of war, toxic rhetoric, and neoliberal commerce."--

"Pootoogook articulates how the here-and-now plays across the eternal, the present moment against geological time. Where traces of the old ways remain, they are frankly juxtaposed with the contemporary: fish drying on a line mounted on the exterior of a prefab house with burgundy siding; the spine of a bowhead whale lying in the snow alongside the ladderlike track of a Ski-Doo." -- Robin Laurence

At a time when photography was still a new and developing technology, the "slow seconds" of George Thomas Taylor's camera offered arresting images of the New Brunswick wilderness. Today, Taylor's photographs illuminate landscapes, people, and the seismic changes that were transforming nineteenth-century New Brunswick.

"In Tanja Bartel's riveting poetry debut, the bucolic Vancouver suburbs clash with the interpersonal. The reader dips into the lives of individuals whose day-to-day is anything but peaceful, altered by luck and choice, fear and failure. In poems that light upon themes such as regret, guilt, and human empathy, Bartel highlights the arbitrary nature of life and the demons that persist within. Unsentimental and blunt, but ultimately forgiving, Everyone at This Party scans the suburbs and tries to make sense of our private selves."--

Hidden away in the woods of central New Brunswick lie the remains of Camp B, one of several internment camps that were administered by the Canadian government during the Second World War. A dark chapter in Canada's history, sites like Camp B housed hundreds of individuals deemed to be "dangerous enemy sympathizers," many imprisoned with little or no justification.In the first year of its operation, Camp B incarcerated German and Austrian Jewish refugees dispatched from Britain. Fearful that the refugees were agents of the Nazis they'd fled, the British government sent thousands of men to Canada to be interned. After most of the refugees were released in 1941, Camp B held Canadians who were suspected of opposing the war effort -- including homegrown fascists and men of German and Italian descent -- as well as captured enemy merchant mariners.In this illuminating account, Andrew Theobald examines the conditions of the camp and the lives of those imprisoned. He also scrutinizes the troubling circumstances that led to the internment of both refugees and Canadian nationals, the debates over the ethics of internment inside and outside the camp, and the role of the camps in shaping government policy towards immigration and the post-war powers of the Canadian state."Dangerous Enemy Sympathizers" is volume 26 in the New Brunswick Military Heritage Series.

In the backwoods of Nova Scotia, a man has decided to withdraw from the world and live off the land. Meanwhile, news reports begin to trickle in of a global catastrophe. Someone has released a genetically modified strain of bacteria that devours plastic. The world will never again be the same.In this masterfully atmospheric novel, both apocalyptic in scope and intimate in setting, Scott Fotheringham cracks open Pandora's box to let loose a trail of chilling consequences.

Lyrical yet shot through with experimental and political veins, the poems of Soft Power exist in searching exchange with the world, both entering and being entered by it, engaged with the here-and-now of a planet where "generations hence / Inactivists will bathe under a sun made safe / By the collapse of oil-can economics."

Facing the monumental issues of our time.In a 2012 performance piece, Rebecca Belmore transformed an oak tree surrounded by monuments to colonialism in Toronto's Queens Park into a temporary "non-monument" to the Earth.For more than 30 years, she has given voice in her art to social and political issues, making her one of the most important contemporary artists working today. Employing a language that is both poetic and provocative, Belmore's art has tackled subjects such as water and land rights, women's lives and dignity, and state violence against Indigenous people. Writes Wanda Nanibush, "by capturing the universal truths of empathy, hope and transformation, her work positions the viewer as a witness and encourages us all to face what is monumental."Rebecca Belmore: Facing the Monumental presents 28 of her most famous works, including Fountain, her entry to the 2005 Venice Biennale, and At Pelican Falls, her moving tribute to residential school survivors, as well as numerous new and in-progress works. The book also includes an essay by Wanda Nanibush, Curator of Indigenous Art at the AGO, that examines the intersection of art and politics. It will accompany an exhibition at the Art Gallery of Ontario scheduled from 12 July to 21 October 2018.Rebecca Belmore is one of Canada's most distinguished artists. She has won the Hnatyshyn Award (2009), the Governor General's Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). A member of Lac Seul First Nation, she was the first Aboriginal woman to represent Canada at the Venice Biennale. She has also participated in more than 60 one-person and group exhibitions around the world.

In the year after Halifax was devastated by the Explosion, Harold Gilman and Arthur Lismer were working in the city as war artists. Commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and sketched side-by-side on occasion.With the effects of the Explosion still clearly visible, Gilman and Lismer turned their attention to the busy harbour. Gilman wiped clean the desolation, ignoring the site of a human-made disaster in favour of a serene landscape. His large-scale painting, Halifax Harbour, was his most ambitious canvas and his last undertaking before his early death in 1919. In contrast, Lismer, a founding member of the Group of Seven, recorded the lively activity of the busy naval hub, producing dynamic paintings, prints, and drawings of camouflaged battleships cruising through the Maritime seascape.Halifax Harbour 1918 examines the genesis of Gilman and Lismer's evocative and powerful responses to the First World War.C'est un an après l'explosion qui a provoqué la dévastation d'Halifax qu'Harold Gilman et Arthur Lismer deviennent artistes de guerre dans la ville. Les deux hommes se lient d'amitié en faisant ensemble des esquisses à l'occasion pour le Fonds de souvenirs de guerre canadiens, qui leur a demandé d'immortaliser les activités militaires sur le front intérieur.Les effets de l'explosion encore visibles, l'attention de Gilman et de Lismer se dirige toutefois sur le port animé. Gilman ignore la désolation, car il choisit de représenter ce site dans un paysage lumineux et non comme un lieu marqué par une catastrophe humaine. Sa très grande toile Le port d'Halifax est l'une de ses plus ambitieuses et la dernière réalisée avant sa mort prématurée en 1919. Quant à Lismer, qui figure parmi les fondateurs du Groupe des Sept, il rend compte des activités portuaires florissantes, en réalisant une série dynamique de tableaux, de dessins et d'estampes intégrant les navires en camouflage aux paysages marins des Maritimes.Le port d'Halifax 1918 examine la manière évocatrice et puissante avec laquelle Gilman et Lismer ont dépeint la Première Guerre mondiale et l'origine de cette réponse.

"Published in conjunction with the exhibition 'Ned Pratt: One Wave', organized by The Rooms, St. John's, NL, September 22, 2018 to January 20, 2019, and touring nationally 2019-22" -- Publisher.

The lyrical memoir of an ever-moving river and those who answer its call.

"Throughout ... Everything Remains Raw, the photographs of the live performances capture the precise moment when hip hop"s essence gets unleashed. On stage, gripping a mic, beads of sweat indiscriminately decorating foreheads, veins animating a pumping voicebox, improvised call-and-response -- this is the uncontainable essence of hip hop music." -- Mark V. Campbell (aka DJ Grumps)

The complex choreography of family, the anxiety of individuality, and the ambiguous histories of stories erased, forgotten, and suppressed.

Shortlisted, Dorothy Livesay Poetry PrizeStanding in the granite of his own voice.Remembering your gathering body.Hello, My Forever Ago, don't worry, >You will have already returned>fashionably, only ever one second old.Yes, Darling, it's me, it says as proof that in space>fleeting isn't the oppositeof infinite, but its perfect match.Four years ago, Ali Blythe arrived with Twoism, a remarkable debut collection, every line shimmering with life and shivering with erotically charged glimpses of completeness. Now in Hymnswitch, Blythe takes up the themes of identity and the body once again, this time casting an eye backwards and forwards, visiting places of recovery and wrestling with the transition into one's own skin. Readers will find themselves holding their breath at the risk and beauty and difficulty of the balance Blythe strikes in the midst of ineffable complexity.Combining a stark, tensile precision with musicality that lulls and surprises, Blythe, a surreal engineer of language, has once again created an unusually memorable collection. Imbued with emotional awareness, these stunning poems will imprint readers with startling images and silences as potent as words.