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Wet Apples, White Blood
Naomi Guttman's new poetry collection was inspired by the role of nursing in human evolution and culture. The first cycle of poems, "Wet Apples, White Blood," offers lyric glimpses into archetypes of breastfeeding women in history and myth. The dramatic action in the second cycle, "Galactopoesis," centres around the experience of a mother whose young child is hospitalized. Galactopoesis is the medical term for the continued secretion and production of milk. It derives from the Greek radicals for 'milk' (galacto) and 'making' (poesis), which is also 'poetry.' InWet Apples, White Blood, nursing, as a constant creative act dependent on the baby's demand, is a trope for the creative process and for questions of biology, psychology, and spirituality.
Chess Pieces
David Solway's new collection of poems is a profound and witty work by a grandmaster of English verse. In forms ranging from free verse to strict quatrains to sly "translations," the poems in Chess Pieces display an astonishing formal skill. These are poems of wit, elegance, and humour but, more darkly, they are also explorations of the play of power as enacted in the game of chess.
Before We Had Words
Words across a Ouija Board: Memory is the mother of the Muses, said the Greeks. What we write are shadows of recollections, fictions growing out of other fictions. But now these words grow out of memory failing, as where and when blanch slowly to perhaps. The two who sheltered from the sudden downpour, hugging close, or woke to each other in the dark, or quarreled hatefully–were they snatches of old stories, or were you once my wife? Death veils you in the features of passers-by, and age makes yellow secrets of our letters, until the past is unalloyed with circumstance, and becomes pure moments of unearned deserving.
The Milk of Amnesia
fire / and water surging on the screen - / since children, metros, planets, beds, and lovers are / so lightly swept away - I must not even breathe. Danielle Janess's debut poetry collection resists the erasing effects of war, nationalism, and forced migration. Following the speaker's arduous relocation to a twenty-first-century Europe still etched with the wounds of the past, the poems take on daring forms and language, becoming theatre, film clips, photographs, and dance, all embodied by a cast of characters marked by the violence of the last century. Arrested in Warsaw within the first twenty days of the Second World War, Janess's maternal grandfather was sent to a Soviet gulag where he su...
Palilalia
Don't you know that mine too was the ventriloquist's thrown voice, and that what I spoke was a stirred echo?
Vlarf
Holmes entered the cabinet / of the respectable reverend / (who was in fact a closet naturalist) / and found so many Victorian things. In the early 2000s flarf poetry emerged as an avant-garde movement that generated disturbing and amusing texts from the results of odd internet searches. In Vlarf Jason Camlot plumbs the canon of Victorian literature, as one would search the internet, to fashion strange, sad, and funny forms and feelings in poetry. Vlarf pursues expressions of sentiment that may have become unfamiliar, unacceptable, or uncool since the advent of modernism by mining Victorian texts and generic forms with odd inclinations, using techniques that include erasure, bout-rimé, emul...
Voices in Time
In 2030, an old man who has survived the holocaustic destruction of civilization in the 1980's illuminates the events of the past by portraying the lives of his cousin, a journalist during the 1970 war measures act, and his stepfather, a German caught up in the madness of the Hitler era.
The Art of Dying
Hate to tell you, but you're going to die. / Quite soon. Me, too. / Shuck off the wisdom while it's warm. / Death does no harm / To wisdom. Sarah Tolmie's second collection of poems is a traditional ars moriendi, a how-to book on the practices of dying. Confronting the fear of death head-on, and describing the rituals that mitigate it, the poems in The Art of Dying take a satirical look at the ways we explain, enshrine, and, above all, evade death in contemporary culture. Some poems are personal – a parent tries to explain to a child why a grandfather is in hospital, or stages a funeral for a child's imaginary friend – while others comment on how death figures in the news, on TV, and in social media. Some poems ask if there is any place left for poets in our rituals of memory and commemoration. A few examine the apocalyptic language of climate change. Others poke fun at the death-defying claims of posthumanism. A thoughtful and irreverent collection about serious concerns, The Art of Dying begins and ends with the fact of death, and strips away our euphemisms about it.
Slow War
Benjamin Hertwig's debut collection of poetry, Slow War, is at once an account of contemporary warfare and a personal journey of loss and the search for healing. It stands in the tradition of Wilfred Owen's "Dulce et Decorum Est" and Kevin Powers’s "Letter Composed During a Lull in the Fighting." A century after the First World War, Hertwig presents both the personal cost of war in poems such as "Somewhere in Flanders/Afghanistan" and "Food Habits of Coyotes, as Determined by Examination of Stomach Contents," and the potential for healing in unlikely places in "A Poem Is Not Guantánamo Bay." This collection provides no easy answers – Hertwig looks at the war in Afghanistan with the unfl...
Return of the Sphinx
The works of a seminal Canadian writer, available again.
