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The Ryerson Poetry Chap-Books were a landmark achievement in Canadian poetry. Edited by Lorne Pierce, the series lasted for thirty-seven years (1925-62) and comprised two hundred titles by writers from Newfoundland to British Columbia, over half of whom were women. By examining this editorial feat, Little Resilience offers a new history of Canadian poetry in the twentieth century. Eli MacLaren analyzes the formation of the series in the wake of the First World War, at a time when small presses had proliferated across the United States. Pierce's emulation of them produced a series that contributed to the historic shift in the meaning of the term "chapbook" from an antique of folk culture to a brief collection of original poetry. By retreating to the smallest of forms, Pierce managed to work against the dominant industry pattern of the day - agency publishing, or the distribution of foreign editions. Original case studies of canonical and forgotten writers push through the period's defining polarity (modernism versus romanticism) to create complex portraits of the author during the Depression, the Second World War, and the 1950s. The stories of five Ryerson poets - Nathaniel A. Benson, Anne Marriott, M. Eugenie Perry, Dorothy Livesay, and Al Purdy - reveal poetry in Canada to have been a widespread vocation and a poor one, as fragile as it was irrepressible. The Ryerson Poetry Chap-Books were an unprecedented initiative to publish Canadian poetry. Little Resilience evaluates the opportunities that the series opened for Canadian poets and the sacrifices that it demanded of them.
The lives, deaths, poetry, diaries and extracts from letters of sixty-six soldier-poets are brought together in this limited edition of Anne Powell's unique anthology; a fitting commemoration for the centenary of the First World War. These poems are not simply the works of well-known names such as Wilfred Owen – though they are represented – they have been painstakingly collected from a multitude of sources, and the relative obscurity of some of the voices makes the message all the more moving. Moreover, all but five of these soldiers lie within forty-five miles of Arras. Their deaths are described here in chronological order, with an account of each man's last battle. This in itself provides a revealing gradual change in the poetry from early naïve patriotism to despair about the human race and the bitterness of 'Dulce et Decorum Est'.