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"These poems animate moments surrounding the still-life or pose; verbal brushstrokes fill cracks in the canvas. A series of sharp glimpses restores details from a painter's rape trial, for which most records have been lost. Painter, model, and poet seduce the reader into a mystery that cannot be observed at a single glance."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
See her? / Steadfast and firm her / branches graze the mantle of quiet clouds / as she elaborates her claim Haunted by indifference toward systemic violences and the disregard endured by those people labelled as "problems," nancy viva davis halifax’s poems articulate the constraints of discredited lives. Conveying her experiences witnessing homelessness, poverty, disability, and chronic illness on the streets and within women's emergency shelters, davis halifax orients readers to recognize ongoing suffering in our society. One poem, a purl of four words, reminds the reader that language entangles and unbinds lives, and that life is an unfastening, a knitting by which some are lost and others made separable. These are unregulated poems, poems that refuse indifference and reassert mutuality. They are not an argument, they are not assured, not facts, not a problem, not a resource, but an opening.
Balancing the bells of the past with the personal life of the present, these poems offer an intimate look at a woman leaving her husband. Against the backdrop of history, honest glimpses of a relationship's ruin reveal surprising connections between the exalted and mundane. Cast from Bells tells a story about people and things dividing and uniting, and the sounds and spaces between bells and bullets.
Field Guide to the Lost Flower of Crete by Eleonore Schönmaier Pdf
Thyme clings, high / and away from the grazing and scents / the air. Island reality is interconnected with live-retrieved memories in which a nurse follows a violent patient into the northern Canadian bush, a migrant mother faces her new job as the village butcher, an Ojibway man is forced to walk a dangerous route home alone, teenagers loot the local dump to build their mother's wheelchair, and an electrician watches a woman play a grand piano on a ballfield. A (re)creation of the surreality and altered time within deep states of grieving, Field Guide to the Lost Flower of Crete juxtaposes sorrow with fragmentary unapologetic joy. Eleonore Schönmaier forges compelling symphonic resonances between European musical encounters and a northern working-class childhood. By centring her experiential empathy on a history of racism and poverty, she guides us into better ways of being. Intimate reflections are contrasted with geopolitical and environmental concerns as Schönmaier's fierce intelligence focuses on what is most essential in our lives. The arc of this collection offers a rejuvenating meditation on the meaning of loss and love, highlighted by the lyric beauty of the writing.
Silence in the belly of the breathing house. Night so deep / it’s reaching through rooms as if searching its pockets. Standing in the midst of her childhood home, Margo Wheaton was struck by two things: the extent of the damage caused by her father’s and stepmother’s alcoholism and the life force that pulsed in the once-vibrant rooms and yard – in the abandoned trees, neglected flowerbeds, and gardens her parents had planted and tended for decades. Radiant, grieving, and intensely musical, Rags of Night in Our Mouths is an exploration of human and environmental states of precarity and vulnerability. In the opening suite, Wheaton draws upon her family’s deep roots in the Tantramar Marsh area and constructs a hallucinatory world of fragility, chaos, and searing natural beauty as she writes her own version of Maritime gothic. Employing a variation of the ghazal, a historically Persian form popularized in Canada by the late New Brunswick–based poet John Thompson, she surveys the ruins of her working-class childhood home, a thriving place now ravaged by generational alcoholism and despair. Directed at first toward an absent beloved – a convention of the ghazal tradition – the focus moves in the second suite to the teeming, non-human world of an endangered saltmarsh on a wild shore of the Northumberland Strait bordering Nova Scotia, New Brunswick, and Prince Edward Island. In the book’s closing suite, Wheaton honours a landscape slated to be destroyed and pays homage to “the broken-hearted, the bereaved” who walk the ragged shoreline, struggling to make sense of losses and death. Meditative and beautifully crafted, Rags of Night in Our Mouths calls us to engage passionately with our suffering world.
In the night her whitened toes / cold sole on his calf / between his palms he warms / a slender foot – / twig bones, taut skin. Jean Van Loon’s father was a metallurgist in an Ottawa lab that contributed to the Manhattan Project. The Geiger counter he brought home exposed her mother’s dinner plate as radioactive. Her childhood friend’s father sold cobalt bombs to the Soviet Union. Unbeknownst even to the family, her mother worked for Canada’s Cold War intelligence service. Rooted in memory and history, Nuclear Family carries the reader into the sense of impending nuclear doom and the explosions of material wealth that shaped Van Loon’s childhood. Poems come alive with image, sound, and texture, portraying the innocence of childhood games, the worldwide effects of prolonged nuclear testing, and the long-lasting legacy of her father’s suicide – a fallout of radioactive silences. In Nuclear Family violent events, both global and familial, permeate a girl’s coming of age in a story of cataclysm and, ultimately, recovery.
The Unlit Path Behind the House by Margo Wheaton Pdf
The day's an old room / stripped of its furniture; there are / never enough beds in winter. / By late afternoon, the shadows / are forming a blue inconsolable hall // as sparrows retreat to makeshift / cots of pine bark and eaves. // Even the parched marsh grass / has stilled, every blade / become an ear. Sensuous, atmospheric, and spare, The Unlit Path Behind the House collects poems that seek light in difficult places. In lines filled with an intense music, Margo Wheaton listens for the lyricism inside the day's blessings and catastrophes. Wheaton's poems sing at the intersections where public and private worlds collide: the steady cadence of a boy carrying an unconscious girl in his arms, the afternoon journey of a woman taking books to prisoners, the rhythmic breathing of a homeless man asleep in a parking lot. In these works, fireflies pulse in the dark, lovers clasp and unclasp, and street signs sing like Blake's angels. Deeply informed by the natural world, Wheaton's writing is marked by great meditative depth; while passionately engaged, these poems evoke a field of mystery and stillness. Whether exploring themes of isolation, spiritual dispossession, desire, or the sanctity of daily rituals, The Unlit Path Behind the House conveys our longing for home and the different ways we try to find it.
Benjamin Hertwig's debut collection of poetry, Slow War, is at once an account of contemporary warfare and a personal journey of loss and the search for healing. It stands in the tradition of Wilfred Owen's "Dulce et Decorum Est" and Kevin Powers’s "Letter Composed During a Lull in the Fighting." A century after the First World War, Hertwig presents both the personal cost of war in poems such as "Somewhere in Flanders/Afghanistan" and "Food Habits of Coyotes, as Determined by Examination of Stomach Contents," and the potential for healing in unlikely places in "A Poem Is Not Guantánamo Bay." This collection provides no easy answers – Hertwig looks at the war in Afghanistan with the unflinching gaze of a soldier and the sustained attention of a poet. In his accounting of warfare and its difficult aftermath on the homefront, the personal becomes political. While these poems inhabit both experimental and traditional forms, the breakdown of language channels a descent into violence and an ascent into a future that no longer feels certain, where history and trauma are forever intertwined. Hertwig reminds us that remembering war is a political act and that writing about war is a way we remember.
Although relatively few First Nations joined the 1885 Métis insurgence, the Canadian government reacted punitively, instituting draconian "Indian" policies whose ill-effects continue to resonate today. The Winter Count traces these developments alongside another narrative - the debate over the sanity of Métis leader Louis Riel. Dilys Leman weaves original poems and reconstituted archival texts, including medical reports, diaries, treaties, recipes, even a phrenological analysis, to create a montage that both presents and disrupts official history. Her narrative questions politically expedient myths that First Nations were allies of the Métis, would rise again in greater numbers, and needed to be scrupulously controlled to secure the opening of the West. Leman evokes the voices of historical and imagined characters to convey a political landscape teetering into lunacy and a government obsessed with its own vision of nation-building. We hear a bureaucrat extol the merits of the pass system, a court interpreter's ludicrous translation of treason felony into Cree, and Dr Augustus Jukes agonizing about his role on the secret medical commission tasked with reassessing Riel’s sanity, which would determine if he could be executed. The Winter Count is a cautionary tale about moral responsibility. As Leman laments, our failure to be accountable human beings will surely haunt us: "Laudable pus / Political speeches / This water / brought too late / to a boil / Lance and forceps / rattling / their pot"
From Two Wings She would drift into the kitchen trailing fragments of a hymn that spoke of God, a river, the pair of golden wings that would be hers on Judgement Day and were you to look at her then you might well decide your best bet for a meal would be to eat out: Ricardo Sternberg's astonishing third collection brings together poems both lyrical and complex, transparent and resonant. If Map of Dreams ended with the poet unable to reach his dreamt island, here he returns to the world around him and finds it full: a blind cook clattering in her kitchen, a great-uncle raising birds behind locked doors, lovers writing to each other out of touch and out of synch. He sees as well a world riven by magic: Noah's wife and her tears, a broom yearning for a dance, an angel inventing the blues. Like the mime in "Marcel, " Bamboo Church sets a lavish table "in the house of the hungry."
The leaves of paper / butterfly-wing thin / let light stream through / only one side of each. If “poetry is what we do to break bread with the dead,” as Seamus Heaney put it, Earth Words breaks bread with three earlier writers through the glosa, a poetic form that unfolds as a dialogue. The collection inscribes a series of concentric circles, moving outwards from the eleventh-century world of Wang An-shih through the nineteenth century of Henry Thoreau and into the twentieth century with Emily Carr. Though the environmental and political problems of the twenty-first century feel unique, the figures in this book are met with similar challenges. Wang’s writings embody an ideal relationship between self and nature, preserving a sense of rootedness in times resembling the upheavals of the Trump era. This relationship is confirmed in conversations with Thoreau, whose closeness to nature provides an antidote to our age’s dependence on digital forms of communication. He also grapples with slavery and the failure to respect the full humanity of Indigenous peoples, struggles that ripple out into the present. Carr’s writings and art enter into Indigenous cultures and witness the enduring value of their way of looking at nature. She realizes that the impulse to creatively express one’s being runs through the entire natural world. Culminating in this realization, the concentric circles of Earth Words broaden out to include its twenty-first-century readers as well as its writers in a vision of creative growth.
All songs have skin, / all skin has holes. On High, Neil Surkan's debut collection of poetry, searches for spirits in myriad places. Wondering how, why, and when to act with a conscience, speakers try out steep hikes, strong drugs, and earnest meditations as they attempt to make meaning in a divided and distracting world. Careful and tense, On High balances on all kinds of tightrope-like lines: a trout fisher revels after riding a moose, a buzzed lover speculates about human connection, new condo owners toast from balcony to balcony, a young woman kicks a hornet's nest into her hometown library's erotica/poetry/religion section. Reaching for the sprigs of our shared humanity, Surkan's poems offer courage and compassion in violent times. As the speaker in "The Branch Breaker" muses, "sarcasm won't dissolve our enemies." On High is a book for the contemporary moment.
War, Pestilence, Famine, Death. Was I deaf / to the headline roar of my unwieldy load? Engaging with the inevitability of change and flux, Thomas O'Grady's poems grapple with themes of death and rebirth, of loss and resiliency, of ebb and flow within nature and within individual lives and romantic and domestic relationships. Bookended by the springtime of “Controlled Burn” and its mirror, the wistfully autumnal “Magritte,” the collection follows multiple arcs within and across poems and longer sequences. Part I, "Seeing Red," grounds the poems in the rural landscapes, shorescapes, and streetscapes of the poet's childhood on Prince Edward Island, leading O'Grady home as he returns to “the heartening blaze / of red that frames the doors, // the eaves, the corner trim / of every outlying / Island barn and shed.” Part II, “The Wide World,” comprises poems prompted by more cosmopolitan landscapes, both literal and figurative, and inspired by the graphic arts, jazz music, classical mythology, and other writers. A later sequence of eight poems reflects O'Grady's Irish heritage within the social fabric of PEI. Through precise and steadying language, Delivering the News reflects the capacity of poetry both to acknowledge and to mitigate life's mutability.
A whistling through teeth. / He shuts his eyes but still sees / the red glow of exit signs. Harold Hoefle's The Night Chorus rises out of forests and country roads, bars and buses, cities and small towns. These locales are the haunts of outsiders ranging from travellers and farmers to a soldier, a drug addict, a refugee, and the murdered. The past clings in these stark, evocative poems, "memory a closet of clothes / that hang from bent wire." In the tradition of songwriters like Gordon Lightfoot and Gord Downie and poets such as Al Purdy, Karen Solie, and David O'Meara, The Night Chorus presents so-called "obscure" lives, where dark and playful humour collides with historic and mythic characters including Ovid and Dante, Odysseus and Desdemona. Using lyric poetry and the ghazal, the prose poem and the elegy, The Night Chorus brims with images as sharp as wild geese scrawling letters against an evening sky and as humble as "pots of plum dumplings and still-warm soup." Bookended by a sequence of lyrics inspired by cross-country road trips, Hoefle references iconic places like Black Dog Road and Seldom Seen and peoples the landscape with imagined characters. Their voices – damaged, rough, intimate – will echo in the reader's mind.
