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"SITTING SHIVA ON MINTO AVENUE, BY TOOTS tells the story of a man who had no obituary and no funeral, and who would have left no trace if it weren't for the woman he'd called Toots, who took everything she remembered of him and--for seven days--wrote it down. In recording the tale of the little man, through memories and Google searches, quotes from Rilke and hints of recipes from Madame Jehane Benoit, Toots gives a glimpse into a entire era of urban Canada, from Vancouver's Downtown Eastside, Main Street, and Chinatown, to a long-ago Montreal and its entertainment between the Great Depression and Expo 67."--Back cover.
An annotated, commented and revised translation of Rosalía de Castro's Follas Novas (1880) [New Leaves]. A contemporary version of the Erín Moure 2016 translation from the original Galician, traversed by the thoughts and links and memorations of the translator. A book of thinking, in which Rosalía de Castro's own thinking comes more into the clear, and thus her relevancy to poetry, to women, and to migrants today.
The poetry in the Governor General’s Award–winning collection Furious is charged with Erin Moure’s characteristic energy and wit as she explores the limits of pure reason and the language of power. There is, too, a fresh and often celebratory look at love, and, in an unusual finale, “The Acts,” Moure challenges us to explore a feminist aesthetic: of thinking, of the page, of working life and the possibility of poetry.
"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
A much-anticipated debut collection from one of Canada’s most promising emerging poets Pebble Swing earns its title from the image of stones skipping their way across a body of water, or, in the author’s case, syllables and traces of her mother tongue bouncing back at her from the water’s reflective surface. This collection is about language and family histories. It is the author’s attempt to piece together the resonant aftermath of the Chinese Cultural Revolution, which stole the life of her paternal grandmother. As an immigrant whose grasp of Mandarin is fading, Wang explores absences in her caesuras and fragmentation—that which is unspoken, but endures. The poems in this collection also trace the experiences of a young poet who left home at seventeen to pursue writing; the result is a series of city poetry infused with memory, the small joys of Vancouver’s everyday, environmental politics, grief and notions of home. While the poetics of response are abundant in the collection—with poems written to Natalie Lim and Ashley Hynd—the last section of the book, "Thirteen Ghazals and Anti-Ghazals after Phyllis Webb," forges a continued response to Phyllis Webb on Salt Spring Island, and innovates within the possibilities of the experimental ghazal form.
Planetary Noise: Selected Poetry of Erín Moure gathers four decades of poetry from a celebrated Canadian poet and translator who has persistently reconfigured the linguistic and material relations of English. Moure's poems and networked sequences are hybrid and often polylingual; they work with contradiction, paradox, and verbal detritus— linguistic hics and blips often too quickly dismissed as noise—to create new conditions for thought and pleasure. From postdramatic theatre to queer and feminist theory, from the politics of citizenship and genocide to the minutiae of digital poetics, from the clamor of love to the shadows of grief and memory, Moure has joyously toppled hierarchies of meaning and parasited dominant discourses to create poetry that crosses borders, embracing hope, not war. This volume, edited by poet and literary scholar Shannon Maguire, also features an extensive introduction to Moure's poetry, a section of poetry by others translated by Moure, and an afterword on translation by the poet. An online reader's companion is available at wesleyan.edu/wespress/readerscompanions. Hardcover is un-jacketed.
"The poetry in Furious is charged with Mours characteristic energy and wit as she explores the limits of pure reason and the language of power. There is, too, a fresh and often celebratory look at love, and, in an unusual finale, The Acts, Mour challenges us to explore a feminist aesthetic: of thinking, of the page, of working life, and the possibility of poetry."
A selection of 333 works of art representing masterpieces of the sacred and court traditions as well as their urban, folk, and tribal heritage.
Poetry. Women's Studies. Translation. Translated by Erín Moure. CAMOUFLAGE is a new collection of poems by the Galician poet and journalist Lupe Gómez. The poems in CAMOUFLAGE are sharp, tender elegies for a mother and for a rural village, its changing walks and ways and words. In CAMOUFLAGE, we see how one person can be "two sisters," with "two pasts." We learn about making cheeses, but also that "Death is a political project." Gómez's bold voice erases the line between the political and the domestic, the experimental and the sequential, and allows for celebratory insight. CAMOUFLAGE was published in Spain in 2017 and is Gómez's eleventh book of poetry but her first published in the United States. The poems were originally written in Galician, a language spoken by about 3 million people, primarily in Galicia, an "autonomous community" in the northwest of Spain. Translator and poet Erín Moure has translated the book into an intimate English with a vivid and tight "linguistic embrace." CAMOUFLAGE is a bilingual edition with a translator's introduction, and presents a new approach to designing work in translation.