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Native Poetry in Canada: A Contemporary Anthology is the only collection of its kind. It brings together the poetry of many authors whose work has not previously been published in book form alongside that of critically-acclaimed poets, thus offering a record of Native cultural revival as it emerged through poetry from the 1960s to the present. The poets included here adapt English oratory and, above all, a sense of play. Native Poetry in Canada suggests both a history of struggle to be heard and the wealth of Native cultures in Canada today.
In parallel columns of French and English, lists over 4,000 reference works and books on history and the humanities, breaking down the large divisions by subject, genre, type of document, and province or territory. Includes titles of national, provincial, territorial, or regional interest in every subject area when available. The entries describe the core focus of the book, its range of interest, scholarly paraphernalia, and any editions in the other Canadian language. The humanities headings are arts, language and linguistics, literature, performing arts, philosophy, and religion. Indexed by name, title, and French and English subject. Annotation copyrighted by Book News, Inc., Portland, OR
Reference Sources for Canadian Literary Studies offers the first full-scale bibliography of writing on and in the field of Canadian literary studies. Approximately one thousand annotated entries are arranged by reference genre, with sub-groupings related to literary genre.
This is the first annotated anthology of Canadian poetry and prose, from the eighteenth century to the present. Volume I contains the work of 40 writers. Some 200 pages are devoted to poetry and 350 pages to prose, which includes not only short fiction but five autobiographical pieces, eight essays of literary criticism, and a play. There are many cross-connections - in related subject matter, in the criticism and memoirs that reflect on other selections - so that the anthology offers a firm context for the study not only of individual writers but of the literary culture of Canada. With introductions to the writers and their works, and annotations.
The Best of the Best Canadian Poetry in English takes the pulse of the last decade of Canadian poetry with ninety superb poems that have excelled--twice--at the test of "the best." With poems chosen from the first nine volumes of this landmark series, this special tenth-anniversary edition highlights a vibrant variety of subjects from romance and family to ecology and the economy--not to mention blizzards and bears. Ranging from iconic poets Michael Ondaatje, Anne Carson, George Elliott Clarke, and P.K. Page to notable upstarts, the anthology includes an index for readers, notes from the poets, an illuminating analysis of Canadian poetics by series editor Molly Peacock, and provocative excerpts from past introductions by guest editors Stephanie Bolster, A.F. Moritz, Lorna Crozier, Priscila Uppal, Carmine Starnino, Sue Goyette, Sonnet L'Abbé, Jacob McArthur Mooney, and Helen Humphreys.
Among the poets new to this edition are such leading names as Americans Robert Pinsky, Louise Erdrich and Louise Glück; Britons James Fenton and Carol Ann Duffy; and Canadians Anne Carson, Robert Bringhurst, and Christian Bök. A number of names who may be new to many readers of poetry are also included among them: Ohioan Debra Allbery, Vancouverite Elise Partridge, and the Cree poet Connie Fife; as with the first edition, the editors have endeavored to include much that is fresh as well as much that is familiar. There are many additions to the selections from poets who appeared in the first edition including selections from the recent work of Leonard Cohen, Les Murray, and Margaret Atwood. As before, the anthology includes work from English-language poets throughout the world from India, Africa, and the Caribbean as well as from Britain, North America, and Australia. Although the selections from the work of poets of earlier eras are largely unchanged from the first edition, there have been some changes; among poems added for this edition are Milton’s L’Allegro and Il Penseroso, Bradstreet’s “Employment,” Dickinson’s “I cannot live without You,” Frost’s “Once by the Pacific,” and Auden’s “Funeral Blues.” As before, the text emphasizes work of the past century; poems from 1900 or later take up more than half of the anthology’s pages. In its first edition The Broadview Anthology of Poetry included biographical information about the poets at the back of the anthology; for the new edition, biographical material appears in a headnote to each poet. Two other features are also new to this edition: the date of first publication is appended after each poem, and line numbering is used throughout. The numbers have been kept unobtrusive, however; as with the first edition, the designers have endeavored to give a clean look to the pages of the anthology. A substantial section on prosody, figures of speech, and so on is included as an appendix.
Wider Boundaries of Daring: The Modernist Impulse in Canadian Women’s Poetry announces a bold revision of the genealogy of Canadian literary modernism by foregrounding the originary and exemplary contribution of women poets, critics, cultural activists, and experimental prose writers Dorothy Livesay, P.K. Page, Miriam Waddington, Phyllis Webb, Elizabeth Brewster, Jay Macpherson, Anne Wilkinson, Anne Marriott, and Elizabeth Smart. In the introduction, editor Di Brandt champions particularly the achievements of Livesay, Page, and Webb in setting the visionary parameters of Canadian and international literary modernism. The writers profiled in Wider Boundaries of Daring are the real founders of Canadian modernism, the contributors of this volume argue, both for their innovative aesthetic and literary experiments and for their extensive cultural activism. They founded literary magazines and writers’ groups, wrote newspaper columns, and created a new forum for intellectual debate on public radio. At the same time, they led busy lives as wives and mothers, social workers and teachers, editors and critics, and competed successfully with their male contemporaries in the public arena in an era when women were not generally encouraged to hold professional positions or pursue public careers. The acknowledgement of these writers’ formidable contribution to the development of modernism in Canada, and along with it “wider boundaries of daring” for women and other people previously disadvantaged by racial, ethnic, or religious identifications, has profound implications for the way we read and understand Canadian literary and cultural history and for the shape of both national and international modernisms.
The prestigious and highly anticipated annual anthology of the best Canadian and international poetry from the shortlist of the 2021 Griffin Poetry Prize. Each year, the best books of poetry published in English internationally and in Canada are honoured with the Griffin Poetry Prize, one of the world’s most prestigious and richest literary awards. Since 2001, this annual prize has tremendously spurred interest in and recognition of poetry, focusing worldwide attention on the formidable talent of poets writing in English and works in translation. Annually, The Griffin Poetry Prize Anthology features the work of the extraordinary poets shortlisted for the awards and introduces us to some of the finest poems in their collections. Featuring works from shortlisted poets Victoria Chang, Changtai Bi, Joseph Dandurand, Canisia Lubrin, Valzhyna Mort, Srikanth Reddy, Yusuf Saadi, Tracy K. Smith, and Yi Lei.
"A best poem fulfills the promise set out in its first syllable, word, syntax, line break, and soundscape to its reader/listener." “What is a best poem?” asks Best Canadian Poetry 2020 guest editor Marilyn Dumont, the critically acclaimed and award-winning author of four poetry collections. “A best poem fulfills the promise set out in its first syllable, word, syntax, line break, and soundscape to its reader/listener. The work required to complete a poem takes risk, skill, and practice, and the poems selected for this anthology all exhibit such attributes.” In precise language that exposes the attitudes inherent in English, innovative forms that illuminate their content, and mastery of music akin to a composer’s score, the fifty poems collected here fulfill their promises and, in doing so, demonstrate the country’s rich diversity and talent for invention—and the promises it might fulfill as well. Featuring introductions by series editor Anita Lahey and advisory editor Amanda Jernigan, and poems by: Kazim Ali • Amber Dawn • Billy-Ray Belcourt • Brandi Bird • Selina Boan • Margret Bollerup • Rita Bouvier • Tim Bowling • Frances Boyle • Di Brandt • Rob Budde • Mugabi Byenkya • Dell Catherall • Margaret Christakos Ivan Coyote • Barry Dempster • Kyle Flemmer • Susan Haldane • Louise Bernice Halfe–Sky Dancer • Jane Eaton Hamilton • Maureen Scott Harris • Dallas Hunt • Ashley Hynd • Babo Kamel • Conor Kerr • Don Kerr • Fiona Tinwei Lam • Natalie Lim • Tanis MacDonald • Nyla Matuk • Sadie McCarney • Tara McGowan-Ross • Erín Moure • Roger Nash • Samantha Nock • Erin Noteboom • Abby Paige • Geoff Pevlin • Alycia Pirmohamed • Jana Prikryl • Jason Purcell • Armand Garnet Ruffo • Rebecca Salazar • Robyn Sarah • Erin Soros • Kevin Spenst • John Elizabeth Stintzi • Andrea Thompson • Sanna Wani • Adele Wiseman
From Tottel's Miscellany (1557) to the last twentieth-century Oxford Book of English Verse (1999), anthologies have been a prime institution for the preservation and mediation of poetry. The importance of anthologies for creating and re-creating the canon of English poetry, for introducing ‘new' programmes of poetry, as a record of changing poetic fashions, audience tastes and reading practices, or as a profitable literary commodity has often been asserted. Despite its impact, however, the poetry anthology in itself has attracted surprisingly little critical interest in Britain or elsewhere in the English-speaking world. This volume is the first publication to explore the largely unmapped field of poetry anthologies in Britain. Essays written from a wide range of perspectives in literary and cultural studies, and the point of view of poets, editors, publishers and cultural institutions, aim to do justice to the typological, functional and historical variety with which this form of publication has manifested itself - from early modern print culture to the postmodern age of the world wide web.