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Selected poems of Maureen N. McLane More Anon gathers a selection of poems from Maureen N. McLane’s critically acclaimed first five books of poetry. McLane, whose 2014 collection This Blue was a finalist for the National Book Award, is a poet of wit and play, of romanticism and intellect, of song and polemic. More Anon presents her work anew. The poems spark with life, and the concentrated selection showcases her energy and style. As Parul Seghal wrote in Bookforum, “To read McLane is to be reminded that the brain may be an organ, but the mind is a muscle. Hers is a roving, amphibious intelligence; she’s at home in the essay and the fragment, the polemic and the elegy.” In More Anon, McLane—a poet, scholar, and prizewinning critic—displays the full range of her vertiginous mind and daring experimentation.
Along with the finest pieces from his three previous books, often in revised form, The Tongues of Earth includes 20 new poems. Known as a writer of place, in The Tongues of Earth Abley extends his range over time and history. These poems are distinguished by their combination of clarity and grace, high intelligence and deep feeling. Poems such as “Mother and Son”, “Labrador” and “Glasburyon” are the work of a literary artist with few peers in Canada. To those who have known Abley only as a prose writer, this book will come as a revelation. Endorsed by Julie Bruck, who won the Governor General's Award for English-language poetry in 2012.
Shortlisted for the Griffin Poetry Prize and the Trillium Book Award Marooned in the shiftless, unnamed space between a map of the world and a world of false maps, the poems in Methodist Hatchet cling to what’s necessary from each, while attempting to sing their own bewilderment. Carolinian forest echoes back as construction cranes in an urban skyline. Second Life returns as wildlife, as childhood. Even the poem itself -- the idea of a poem -- as a unit of understanding is shadowed by a great unknowing. Fearless in its language, its trajectories and frames of reference, Methodist Hatchet gazes upon the objects of its attention until they rattle and exude their auras of strangeness. It is this strangeness, this mysterious stillness, that is the big heart of Ken Babstock’s playful, fierce, intelligent book.
From the National Book Critics Circle Award–winning poet and critic: “A lovely book, full of joy and wisdom.” —The Baltimore Sun How to Read a Poem is an unprecedented exploration of poetry, feeling, and human nature. In language at once acute and emotional, Edward Hirsch describes why poetry matters and how we can open up our imaginations so that its message can make a difference. In a marvelous reading of verse from around the world, including work by Pablo Neruda, Elizabeth Bishop, Wallace Stevens, and Sylvia Plath, among many others, Hirsch discovers the true meaning of their words and ideas and brings their sublime message home into our hearts. “Hirsch has gathered an eclectic group of poems from many times and places, with selections as varied as postwar Polish poetry, works by Keats and Christopher Smart, and lyrics from African American work songs . . . Hirsch suggests helpful strategies for understanding and appreciating each poem. The book is scholarly but very readable and incorporates interesting anecdotes from the lives of the poets.” —Library Journal “The answer Hirsch gives to the question of how to read a poem is: Ecstatically.” —Boston Book Review “Hirsch’s magnificent text is supported by an extensive glossary and superb international reading list.” —Booklist “If you are pretty sure you don’t like poetry, this is the book that’s bound to change your mind.” —Charles Simic, Pulitzer Prize–winning author of The World Doesn’t End
Harriet Bernstein tells the story of her life with Canadian poet Irving Layton.
The career of Eli Mandel (1922–1992) was one of the most prolific and distinguished in all of Canadian literature, yet in recent years his work has gone unsung compared with that of such peers as Margaret Atwood, Leonard Cohen, Robert Kroetsch, Irving Layton, and P.K. Page. Though he was a critic, anthologist, and editor of national prominence, Mandel’s legacy resides most securely in his poetry, which earned many accolades. From Room to Room: The Poetry of Eli Mandel presents thirty-five of Mandel’s best poems written over four decades, from the 1950s to the 1980s. The selection covers the most prominent themes in Mandel’s work, including his Russian-Jewish heritage, his Saskatchewan upbringing, his interest in classical and biblical archetypes, and his concern for the political and social issues of his time. The book also highlights the way in which Mandel’s work bridged the formal attributes of modernist poetry with contemporary, sometimes experimental, poetics. Complete with a scholarly introduction by Peter Webb and a literary afterword by Andrew Stubbs, From Room to Room makes a worthy addition to the Laurier Poetry Series, which presents affordable editions of contemporary Canadian poetry for use in the classroom and the enjoyment of anyone wishing to read some of the finest poetry Canada has to offer.
A passionate believer in the power of art—and especially poetry—to influence and critique contemporary culture, Louis Dudek devoted much of his life to shaping the Canadian literary scene through his meditative and experimental poems as well as his work in publishing and teaching. All These Roads: The Poetry of Louis Dudek brings together thirty-five of Dudek’s poems written over the course of his sixty-year career. Much of Dudek’s poetry is about the practice of art, with comment on the way the craft of poetry is mediated by such factors as university classes, public readings, reviews, commercial presses, and academic conferences. The poems in this selection—witty satires, short lyrics, and long sequences—reflect self-consciously on the relationship between art and life and will draw readers into the dramatic mid-century literary and cultural debates in which Dudek was an important participant. Karis Shearer’s introduction provides an overview of Dudek’s prolific career as poet, professor, editor, publisher, and critic, and considers the ways in which Dudek’s functional poems help, both formally and thematically, to carry out the tasks associated with those roles. Comparing Dudek’s reception to that of NourbeSe Philip, Marilyn Dumont, and Roy Miki, Frank Davey’s afterword locates Dudek in a pre-1980s version of multiculturalism that is more complex than many critics would have it. According to Davey, Dudek broadened the limits on the possible range and type of poetry for subsequent generations of Canadian writers.