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Louis Dudek has assembled this collection of the poems that complement his writings as a long-term interpreter of the poetic process and a critic of letters in Canada.
The new edition of a prize-winning memoir-in-poems, a meditation on life as a queer Indigenous man—available for the first time in the United States “i am one of those hopeless romantics who wants every blowjob to be transformative.” Billy-Ray Belcourt’s debut poetry collection, This Wound Is a World, is “a prayer against breaking,” writes trans Anishinaabe and Métis poet Gwen Benaway. “By way of an expansive poetic grace, Belcourt merges a soft beauty with the hardness of colonization to shape a love song that dances Indigenous bodies back into being. This book is what we’ve been waiting for.” Part manifesto, part memoir, This Wound Is a World is an invitation to “cut a hole in the sky / to world inside.” Belcourt issues a call to turn to love and sex to understand how Indigenous peoples shoulder their sadness and pain without giving up on the future. His poems upset genre and play with form, scavenging for a decolonial kind of heaven where “everyone is at least a little gay.” Presented here with several additional poems, this prize-winning collection pursues fresh directions for queer and decolonial theory as it opens uncharted paths for Indigenous poetry in North America. It is theory that sings, poetry that marshals experience in the service of a larger critique of the coloniality of the present and the tyranny of sexual and racial norms.
From award-winning author John Elizabeth Stintzi, Junebat is a form- and gender-disrupting debut collection that grapples with the pain of uncertainty on the path towards becoming. John Elizabeth Stintzi’s unforgettable debut collection, Junebat, grapples with the pain of uncertainty on the path towards becoming. Set during the year Stintzi lived in deep isolation in Jersey City, NJ, these poems map the depression the poet struggled with as they questioned and came to grips with their gender identity. Through the invention of the Junebat — a contradictory, evolving, ever-perplexing creature — Stintzi is able to create a self-defined space within the poems where they can reside comfortably, beyond the firm boundaries of the gender binary or the plethora of identities gathered under the queer umbrella. As the speaker of the poems begins to emerge from their depression, the second wing of the book tracks their falling in love with a young woman surfacing from the end of her marriage. Challenging, heartbreaking, soaring, and powerfully new, the poems in Junebat demolish false walls and pull the reader to the dark edges of the mind, showing us how identity doesn’t have to be rigid or static but can be defined by confusion and contradiction, possibility and a metamorphosis that never ends.
A. F. Moritz has been called “one of the best poets of his generation” by John Hollander and “a true poet” by Harold Bloom, who ranks him alongside Anne Carson. He is the recipient of numerous awards and honours throughout North America, including the Award in Literature of the American Academy of Arts and Letters, the Guggenheim Fellowship, Poetry magazine’s Beth Hokin Prize, the Ingram Merrill Fellowship, and the Griffin Poetry Prize. The Sparrow: Selected Poems of A. F. Moritz surveys forty-five years of Moritz’s published poems, from earlier, lesser-known pieces to the widely acclaimed works of the last twenty years. Here are poems of mystery and imagination; of identification with the other; of compassion, judgement, and rage; of love and eroticism; of mature philosophical, sociological, and political analysis; of history and current events; of contemplation of nature; of exaltation and ennui, fullness and emptiness, and the pure succession and splendour of earthly nights and days. The Sparrow is more than a selected poems; it is also a single vast poem, in which the individual pieces can be read as facets of an ever-moving whole. This is the world of A. F. Moritz — a unique combination of lyrical fire and meditative depth, and an imaginative renewal of style and never-ending discovery of form.
As the sixties became the seventies, legendary interviewer Earle Toppings recorded sixteen emerging Canadian writers who would go on to become icons of CanLit. Presented here alongside critical notes and the recollections of Toppings himself, the transcripts of these recordings are a window on the early careers of Canada’s literary masters.
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.
This is an anthology of English verse from the Middle Ages to recent times, from both sides of the Atlantic. Special emphasis has been given to poetry by writers of the Great Plains region (both Canadian and American) and by Aboriginal poets. Intended for introductory classes, poems have been selected with an eye to works--not necessarily easy ones--which address experiences and ideas more readily available to beginning university students and which are more direct and straightforward in expression than many currently anthologized.
How to Read (and Write About) Poetry invites students and others curious about poetry to join the critical conversation about a genre many find a little mystifying, even intimidating. In an accessible, engaging manner, this book introduces the productive questions, reading strategies, literary terms, and secondary research tips that will empower readers to participate in literary analysis. Holbrook explicates a number of poems, initiating readers into critical discourse while highlighting key poetic terms. The explications are followed by selections of related works, so the book thus offers what amounts to a brief anthology, ideal for a poetry unit or introductory class on poetry and poetics. A chapter on meter illuminates the rhythmic dimension of poetry and guides readers through methods of scansion. The second edition is updated throughout and includes a fresh selection of poems and the latest MLA citation guidance.
Born in 1940 in Ottawa, Ontario, legendary poet and musician William Hawkins is one of the most important artists to emerge from Canada's capital. He published six books from 1964-1974, attended the 1963 UBC Summer Poetry Seminar, organized poetry readings at Ottawa's infamous Le Hibou Coffeehouse, wrote songs and performed in bands (The Children, Heavenly Blue), and published widely in Canada's most important little magazines of the 1960s before retreating into silence in the 1970s and working as a cab driver until his retirement in 2012. The Collected Poems of William Hawkins gathers Hawkins's complete output. His books are printed alongside previously unpublished and uncollected poems including early magazine publications, the long-lost book Sweet and Sour Nothings, poems from the time of his extended silence, as well as all work produced since his gradual re-appearance in the 1990s. This volume presents the generous, defiant, idiosyncratic, and compelling work of William Hawkins in its entirety, making possible the renewed attention that this significant body of work deserves.