TRAVIS SHARP YES, I AM A CORPSE FLOWER
"THE QUEEREST BOOK I HAVE EVER READ IN MY LIFE. And the most freeing." - KIRBY
YES, I AM A CORPSE FLOWER
Yes, I am a corpse flower composes a queer lyric meditation on body, identification, and subjectivity, proposing a queer poetics not just referential, limited to language’s meaning. These are not poems about queerness, but composed queerly: eccentric, off-centre, oblique, to twist. Poems that failingly and flailingly attempt to define the queer “I,” that skepticize any stable connection between queer self and body, narrate an unnarratable encounter with self-recognition outside of categorizable identity. These poems are composed from a feeling that to state queerness can never be to expound on a single journey, but to gather together a multitude of I’s of which this I, here, writing this paragraph, is only one iteration. I is not this one, but neither is I an other, but a we, perversely licked-linked through language, a sort of tongue: limn me, limn me!
Yes, I am a corpse flower
Sinister Queer Agenda
The body under valuation: a musical
I guess we should talk about our feelings
Protean Shakes: A Memoir
TRAVIS SHARP published the chapbook Sinister Queer Agenda (above/ground press 2018), the artist’s book one plus one is two ones (Recreational Resources 2018), and, with Aimee Harrison and Maria Anderson, co-edited a digital book, Radio: 11.8.16 (Essay Press 2017). He has an MFA in Creative Writing and Poetics from the University of Washington, Bothell, and is a PhD candidate in the Poetics Program at the University at Buffalo. Travis is the editor and director of Essay Press.
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KFB SELECTS JAN 2021 IAN WILLIAMS WORD PROBLEMS (Coach House)
KFB SELECTS FEB 2021 PHIL HALL TOWARD A BLACKER ARDOUR (Beautiful Outlaw)
KFB SELECTS 2021 MAR | APR | MAY | JUN | JULY | AUG
AARON TUCKER CATALOGUE D'OISEAUX (Book*hug)
HOA NGUYEN A THOUSAND TIMES YOU LOSE YOUR TREASURE (Wave)
STEPHEN COLLIS A HISTORY OF THE THEORIES OF RAIN (Talonbooks)
AIDEN CHAFE GOSPEL DRUNK (U of Alberta Press)
JESSI MACEACHERN A NUMBER OF STUNNING ATTACKS (Invisible)
BARDIA SINAEE INTRUDER (Anansi Poetry)
Previous KFB Selections include: KLARA DU PLESSIS HELL LIGHT FLESH (Palimpsest) KATE SUTHERLAND THE BONES ARE THERE (Book*hug) IAN WILLIAMS WORD PROBLEMS (Coach House) C.P. CAVAFY THE BARBARIANS ARRIVE TODAY Translated with an afterword by EVAN JONES (Carcanet Press, 2020) CODY-ROSE CLEVIDENCE "BEHOLD A MAN!" (Auric Press, 2020) SUE GOYETTE ANTHESIS: A MEMOIR (Gaspereau Press, 2020) A. F. MORITZ AS FAR AS YOU KNOW (Anansi Poetry, 2020) ROXANNA BENNETT UNMEANINGABLE (Gordon Hill Press, 2019) KAIE KELLOUGH MAGNETIC EQUATOR (M&S, 2019) ANNICK MACASKILL MURMURATIONS (Gaspereau Press, 2020) JOHN ELIZABETH STINTZI JUNEBAT (Anansi Poetry, 2020) ALICE NOTLEY FOR THE RIDE (Penguin Poets, 2020) SAM SAX Madness (Penguin), CANISIA LUBRIN Voodoo Hypothesis (Wolsak & Wynn), ANNE MICHAELS All We Saw (McClelland & Stewart), SINA QUEYRAS My Ariel (Coach House), GEORGE OPPEN 21 Poems (New Directions), KAVEH AKBAR Calling a Wolf a Wolf (Penguin UK Edition), BILLY RAY BELCOURT This Wound is a World (Frontenac), ROXANNA BENNETT Unseen Garden (knife fork book), KLARA DU PLESSIS Ekke (Palimpsest Press), ERIC SCHMALTZ Surfaces (Invisible)
AMANDA EARL MATTHEW
AMANDA EARL in conversation with KIRBY
celebrating the KFB release of MATTHEW
20 JUNE 2021 KFB SUNDAY SERVICE 11AM
w/ Special Guest AIDAN CHAFE GOSPEL DRUNK
When this gospel queen heard she had a vispo of Matthew, she said, "WE MUST!" ...and then she SAW IT. - KIRBY
OUT JUNE 2021
PURCHASE NOW AT THE PREORDER PRICE SAVE $5
| ˈfəːtʌɪl | : KFB SUBSCRIPTION SERIES of New + Inventive Ideas
NEW SUBSCRIBERS RECEIVE A FREE COPY OF AMANDA EARL'S MATTHEW [KFB] through JUN 2021 (while supplies last).
| ˈfəːtʌɪl | fertile
• producing many new and inventive ideas: her fertile imagination. [OED]
KFB is intensely interested in the new, new forms, ephemera, shapes, concrete, visual, sound, lexicon, their roots/lineage.
With this quarterly subscription, we'll package chapbooks, broadsides, essays on poetics, ephemera, vispo, concrete, collections that are certain to challenge and delight.
Note: Some items are subject to change based upon availability.
LISA FISHMAN Mad World, Mad Kings, Mad Composition (Wave Poetry)
NICOLE BROSSARD Museum of Bone and Water Translated and Introduction by Robert Majzels and Erín Moure (House of Anansi)
+++ Selected ephemera.
Premiere Season: 2. JOHN BEVIS Letter-Winged Kite (Penteract Press)
ANDREI MONASTYRSKI: Elementary Poetry Edited and Translated from the Russian by Yelena Kalinsky and Brian Droitcour (Ugly Duckling Presse) FRED WAH Music at the Heart of Thinking (Talonbooks) Premiere. SADIQA DE MEIJER alfabet/alphabet (Palimpsest Press) CATHERINE VIDLER oleander 7 (The Blasted Tree) KYLE FLEMMER Purple Rain (The Blasted Tree) DANI SPINOSA OO: Typewriter Poems (Invisible)
+ new works coming from Ugly Duckling Presse, KFB, and various micro-presses local and abroad.
Welcome to | ˈfəːtʌɪl |
UPCOMING 2022 KFB | ˈfəːtʌɪl | POETRY FESTIVAL OF NEW & INVENTIVE WORKS
AISHA SASHA JOHN TO STAND AT THE PRECIPICE ALONE AND REPEAT WHAT IS WHISPERED (Ugly Duckling Presse)
NEW AISHA SASHA JOHN from UGLY DUCKLING PRESSE!
Climb Aisha Sasha John's cliff and meet her energetic catalogue of daily life in the ruins of a disquieting world. John's cliff is language for recovering the ecstatic from the heights and depths of collapse. When a poet finds levity in the deadweight of hard revelations, with her signature wit and her eye scanning every direction from the summit, you go wherever she whispers toward. - Canisia Lubrin
AISHA SASHA JOHN
TO STAND AT THE PRECIPICE ALONE AND REPEAT WHAT IS WHISPERED
(Ugly Duckling Presse)
Written primarily over the course of four months in the fall of 2018, when Aisha Sasha John spent time in her native Vancouver, TO STAND AT THE PRECIPICE ALONE AND REPEAT WHAT IS WHISPERED sees the poet reckoning with narrative in the wake of returning to a place at once familiar and strange: “The other name for this work is DAUGHTERHOOD. What if instead of shaming your parents about their need to grow up, you went on ahead and did it yourself? I used the money I got from being shortlisted for this big poetry prize to spend what would become four months in Vancouver. I went to impose my will on the earth: to be secretary to my mom on a personal business matter. It was entirely my idea. I lived in three different sublets, was so confused, wished for something to fix me. I thought ok I’ll write a novel—or, like, the story of the day—so as to feel organized by occurrences. I did an Event at every university in the area. Centrally I was confronted with growth as a function of daughterhood. My parents lived separately in the suburban townhouse where I spent my adolescence and from which I was banned. Also they lived in a castle of my delusion as perpetual caterpillars—on the verge of transfiguring into the butterfly of new people, a change to be initiated by my careful and robust articulation of their flaws. My lucidity would save them and me; my intelligence would redeem us. I went to Vancouver I guess to more closely consider my exile. It was terrible: a beautiful time.” (UDP)
Aisha Sasha John‘s medium is energy. A poet and choreographer, Aisha is the author of I have to live. (McClelland & Stewart), finalist for the 2018 Griffin Poetry Prize, THOU (Book*hug), finalist for the 2015 Trillium Book Award, and TO STAND AT THE PRECIPICE ALONE AND REPEAT WHAT IS WHISPERED (UDP). Aisha was Writer-in-Residence at the University of Toronto (Scarborough) in 2018 and served as guest faculty for the 2019 Writing Studio residency program at The Banff Centre. Aisha is also the 2019-2022 Dancemakers’ Resident Artist—in 2021 she will commence research on an ensemble work DIANA ROSS DREAM. Her solo work the aisha of is premiered at the Whitney Museum in 2017.
DIVYA VICTOR CURB [Nightboat]
NEW from the author of KITH
Divya Victor’s Curb is extraordinary: it is a sobering poetic look at how white supremacy “curbs” the brown civilian who can slip between Muslim and Black, between terrorist and illegal. If they’re not targeted for what they are, they’re mistaken for what they’re not—with sometimes fatal consequences. Victor explores the murders of South Asians in America with piercing acumen, re-arranging historical documents into wholly original compositional strategies that draws me in but also pushes me back. I can never know what happened, only perceive the disquieting absence of lives annihilated by structural violence. Layered, rich, and epic, Curb is an incredible collection that must be read and re-read. -Cathy Park Hong
Divya Victor’s innovative lyrical exactness lays bare the US nationalist project and movingly documents and reenacts exact moments of diasporic bodies lived out in place and history. Curb maps out the exact locations of post-9/11 white-supremacist violence against South Asians with exact markings of dots, lines, squares, DMS coordinates, soundscapes, diacritical marks, Latin, Hindi, Gujarati, Malayalam, Tamil, and “No English.” Curb’s existential coordinates of exactitude cast a powerful spell against empire’s geography. -Don Mee Choi
Curb by Divya Victor is an astonishing new book of poems that raises anti-South Asian violence to the surface of awareness, urging a conversation about the way bodies are marked. Documenting a relationship to land, geography, and location, the mark becomes a kind of bull’s eye on bodies that are indecipherable and unnameable by America’s flat tongue, yet targeted nonetheless. The words for saying any of this are at the curb/the gutter, and it’s there, too, where the person is made object/inhuman. Victor’s poems won’t soothe you if that’s what you’re looking for. They do something far more necessary; they vibrate under your tongue like letters from the dead. -Dawn Lundy Martin
Fiercely lyric in tone, Curb simultaneously limns a documentary poetics of loss—of land, language, family, connections, dignity and life even. Making the reader her accomplice and co-creator, Victor enters language and languaging itself, including utterance, sound and translation, to wrest from the experience of displacement, racism and wrongful death a lambent work suffused with a poetics of relation and love, which resists systems designed to humiliate and degrade—a work of emboldened, embodied poetics that does the necessary labor that presages something new.
Read Curb for:
- its fierce lyricism
- its documentary poetics of loss
- its tender urgency and its urgent tenderness
- how it ferries language across crevasses created by the tongue
- how it bears witness to witnessing
- how (un)mothered tongues live under curb
- how love petitions the heart even as it breaks under the wait in time
- how story ‘stories’ and stores memory
- how it takes sides
- how it shines a light in dark times
Read Curb! -M. NourbeSe Philip
DIVYA VICTOR is the author of CURB (Nightboat Books, forthcoming); KITH, a book of verse, prose memoir, lyric essay and visual objects (Fence Books/ Book*hug), ; NATURAL SUBJECTS (Trembling Pillow, Winner of the Bob Kaufman Award), UNSUB (Insert Blanc), and THINGS TO DO WITH YOUR MOUTH (Les Figues). Her work has been collected in numerous venues, including BOMB, the New Museum’s The Animated Reader, Crux: Journal of Conceptual Writing, The Best American Experimental Writing, POETRY, and boundary2.
VERSschmuggel / reVERSible: An Anthology of English Canadian Poetry / Poésie du Québec / Dichtung aus Deutschland
"...demonstrating (as if that were needed) that poetry transposes into bodies and languages, imposing its luminous presence that no technology can diminish." - ALEXANDRE PATEAU
"A monumental testament to our times." - KIRBY
In 2020, the poetry translation project VERSschmuggel / reVERSible brought together six German poets, and twelve Canadian poets (six writing in English and six writing in French)— uniquely, all eighteen poets involved in the workshop [via Zoom] worked with all three languages—English, French, and German. The corresponding intimacy carried across into the digital world is strikingly palpable in the resulting volume, a remarkable document of lived possibilities.
Featuring original work and translations by 12 Canadian poets (6 English and 6 French) and 6 German poets, including:
Aisha Sasha John
Armand Garnet Ruffo
Natasha Kanapé Fontaine
VERSschmuggel / reVERSible: An Anthology of English Canadian Poetry / Poésie du Québec / Dichtung aus Deutschland
Co-published by Book*hug Press, Éditions du Noroît (Quebec), and Das Wunderhorn (Germany),
in collaboration with Haus für Poesie in Berlin.
8.5 x 5.5 inches | 471 pages
Trade Paperback | ISBN 9781771666695
reVERSIBLe: An Anthology of Canadian English Poetry / Poésie du Québec / Dichtung aus Deutschland is part of Canada’s literature programme as Guest of Honour at the 2020 Frankfurt Book Fair. The anthology is co-published by Das Wunderhorn (Germany), Editions du Noroît (Quebec), and Book*hug Press (Ontario). The project is supported by the Government of Canada, the Ministère des Relations internationales et de la Francophonie du Québec, the Embassy of Canada, and the Vertretung der Regierung von Québec in Deutschland (Representation of the Government of Québec in Germany).
KIRBY POETRY IS QUEER
Has Cavafy’s ghost entered my body?
If so, it did at a very early age. I’ve often wondered what was meant by ‘old souls,’ but regarding mine, I have no doubt.
That and/or, gay teenage longing is very similar to that of an elder’s. Everything but want slightly out of reach.
POETRY IS QUEER
Poetry is Queer is a kaleidoscope of sexual outlaws, gay icons, Sapphic poets, and great lovers, real and imagined, conjured like gateway drugs to a queer world. Claiming the word QUEER for those “who self-proclaim the authority of their own bodies in defiance of church and state,” Kirby pays tribute to gay touchstones while embodying both their work and joy. From gazing upon street boys with constant companion C.P. Cavafy, to end of day observances with Frank O’Hara, to mowing Walt Whitman’s grass, Poetry Is Queer is a hybrid-genre memoir like no other. (Palimpsest)
PUB DATE 01 0CT 2021
NOW AVAILABLE FOR PREORDER
$1 for every preorder during Pride Month (June 2021) goes directly to support MEAL TRANS, a drop-in program serving nutritious meals to lower-income, street-active, homeless and sex-working trans women, trans men, genderqueer, and questioning people at The 519 (Toronto).
HEAR KIRBY LIVE 29 JUNE 2021 8PM
"I AM A PROFESSIONAL HOMOSEXUAL"
CHAD CAMPBELL NECTARINE (Signal Poetry)
“Chad Campbell's poems are the guests that stay behind after the party long enough to "hear the silence sweep the voices back inside itself," the embers of a fire lit inside the mind where it refuses to be extinguished.” – D.A. Powell
"Imagine an image hitting the eye with rapid-fire description, as if it were projected through a television that allowed the viewer to delight in the flicker of each frame. This is the technique Campbell favors." –Jim Johnstone, Carousel
Memory—how we retrieve and replenish it—is at the heart of Nectarine, Chad Campbell's visionary second collection. Figures, cities, and landscapes from the author's life shift in and out of these dreamlike poems that explore the “unaccountable, uncountable” ways in which our past keeps speaking to us: through objects, through paintings, through colours, and through the spectre of places that map themselves over the places we live in. Subtle, unsettling, compressed, and full of incandescently beautiful language, Nectarine is about lost things, stranded moments, and traces preserved in time like “a glass of frozen nectarine halves / on a table made of ice.” (Signal Poetry)
Chad Campbell is the author of the award-nominated debut collection Laws & Locks (Signal Editions 2015). His poems have appeared in journals across the U.K. and Canada, and are anthologized in The Next Wave: An Anthology of 21st Century Canadian Poetry, The Best Canadian Poetry, and Carcanet New Poetries VIII. A graduate of the Iowa Writers’ Workshop, he lives in Manchester where he studies and teaches at the Centre for New Writing.
BARDIA SINAEE INTRUDER (Anansi Poetry)
“‘Attuned to discourses regarding the spectral nature of just about everything,’ Bardia Sinaee illuminates our modern gothic in his debut collection, Intruder. Haunted by the political history of the Middle East, by the precarity of the contemporary Canadian metropole, and by the spectre of death — ‘That slow ghost / pushing a drip stand / down the corridor / That’s me’ — this existential intruder questions just about everything, including himself. ‘Maybe you ask too many questions,’ writes the poet, ‘Maybe it’s time to let the wind have your clothes.’ Wondrously, Sinaee’s lyric interrogations hold us captive even as they invite us to imagine our escape.” — Srikanth Reddy, author of Underworld Lit
“Several peers: Aisha Sasha John, Phoebe Wang, Vladimir Lucien, Safiya Sinclair, Danez Smith, Solmaz Sharif, Juliane Okot Bitek, Bardia Sinaee, Ishion Hutchinson, and others. These poets are all holding dynamic spaces within their own rattled courtships with language and feeling and thought in poetry.” —Canisia Lubrin, What the Poets Are Doing
This title is part of KFB SELECTS SUBSCRIPTION SERIES—Twelve monthly titles of the latest and best in contemporary poetry selected by knife | fork | book—SUBSCRIBE HERE
Bemused and droll, paranoid and demagogic, Sinaee’s much-anticipated debut collection presents a world beset by precarity, illness, and human sprawl. Anxiety, hospitalization, and body paranoia recur in the poems’ imagery — Sinaee went through two-and-a-half years of chemotherapy in his mid-twenties, documented in the vertiginous multipart prose poem “Twelve Storeys” — making Intruder a book that seems especially timely, notably in the dreamlike, minimalist sequence “Half-Life,” written during the lockdown in Toronto in spring 2020.
Progressing from plain-spoken dispatches about city life to lucid nightmares of the calamities of history, the poems in Intruder ultimately grapple with, and even embrace, the daily undertaking of living through whatever the hell it is we’re living through. [Anansi]
BARDIA SINAEE was born in Tehran, Iran, and currently lives in Toronto. He is the author of the chapbooks Blue Night Express and Salamander Festival. His poems have also appeared in magazines across Canada and in several editions of Best Canadian Poetry. In 2012 his poem “Barnacle Goose Ballad” was Reader’s Choice winner for The Walrus Poetry Prize, and in 2020 he was co-winner of the Capilano Review’s Robin Blaser Award. He holds an M.F.A. in Poetry from Guelph University’s Graduate Program in Creative Writing. Intruder is his first book.
HOA NGUYEN A THOUSAND TIMES YOU LOSE YOUR TREASURE (Wave)
"A THOUSAND TIMES YOU LOSE YOUR TREASURE IS REMARKABLE not only for its unrelenting evisceration of clichés about Vietnam and its people, but also for the variety of forms in which this re-visioning is told." - David Starkey, California Review of Books
"BRILLIANT, ADVENTUROUS This is a book of anti-gravitational forces where the reader experiences the slamming of celestial and earthly realms into one another: moons crashing into earth, colonizer maps turned upside down, rivers parting like lovers, sonnets tied to the sky, and stars spilling womb-song. I am drawn to what Nguyen leaves inscrutable, untranslatable ... the way she refuses cartographies laid out by men, by nation-states, by form, by colonizer, and even by the fatalistic dynamics between mother and child. The poet is furiously loving about her mother’s boldness (“The running blue shock of her”), warping formulaic social expectations of womanhood and motherhood, and allowing her own mother to exist, untethered. - Megan Fernandes, Poetry Foundation
KFB SELECTS SPRING 2021
A THOUSAND TIMES YOU LOSE YOUR TREASURE (Wave Books)
A poetic meditation on historical, personal, and cultural pressures pre- and post-“Fall-of-Saigon” with verse biography on the poet's mother, Diệp Anh Nguyễn, a stunt motorcyclist in an all-women Vietnamese circus troupe. Multilayered, plaintive, and provocative, the poems in A Thousand Times You Lose Your Treasure are alive with archive and inhabit histories. By turns lyrical and unsettling, Hoa Nguyen's poetry sings of language and loss; dialogues with time, myth and place; and communes with past and future ghosts. [Wave]
Hoa Nguyen is the author of several books of poetry, including As Long As Trees Last, Red Juice, and Violet Energy Ingots, which received a 2017 Griffin Prize nomination. As a public proponent and advocate of contemporary poetry, she has served as guest editor for The Best Canadian Poetry in English 2018 and judge for the 2020 Griffin Prize for Poetry, and has performed and lectured at numerous institutions, including Princeton University, Bard College, Poet’s House, and the Banff Centre’s Writers Studio. Recipient of a 2019 Pushcart Prize and a 2020 Neustadt International Prize for Literature nomination, she has received grants and fellowships from the Canada Council for the Arts, the Ontario Arts Council, the MacDowell Colony, and the Millay Colony for the Arts. Her writing has garnered attention from such outlets as The PBS News Hour, Granta, The Walrus, New York Times, and Poetry, among others. Born in the Mekong Delta and raised and educated in the United States, Nguyen has lived in Canada since 2011.
TOLU OLORUNTOBA THE JUNTA OF HAPPENSTANCE (Palimpsest/Anstruther)
01 JUNE 2021 7PM EASTERN w/KHASHAYAR MOHAMMADI at KFB
TOLU OLORUNTOBA's THE JUNTA OF HAPPENSTANCE left me dazzled to the point of squinting. In every poem, some piece of gorgeous, quotable language glittered in my eye" :Wake up. It's the crescendo. / Here comes your / redaction from the world." The collection is neither burdened, victimized, nor apologetic about race. It does not out on race as a pair of glasses. Race is more like an eyeball. It remains a simple fact, even though, as he writes, "My mind has bent the facts, I know. / The facts have bent my mind." One gets the sense that Oloruntoba is the alluring stranger, scribbling into a steno, "submerged into words on the bus," seemingly absorbed in his world but really taking note of us. — IAN WILLIAMS, Author of Word Problems
THE JUNTA OF HAPPENSTANCE
TOLU OLORUNTOBA is the author of the Anstruther Press chapbook Manubrium. His poetry has appeared in Pleiades, Columbia Journal, Entropy, and other publications, and his short fiction has appeared in translation in Dansk PEN Magazine. He founded Klorofyl, a magazine of literary and graphic art, and practiced medicine before his current work managing projects for health authorities in British Columbia. After a somewhat itinerant life in Nigeria and the United States, he emigrated to the Greater Vancouver Area, where he lives with his family.
JIM JOHNSTONE THE OUROBOROS
"In Jim Johnstone’s long poem, the city eats itself inch by inch... Appetite knows no bounds." - The Pamphleteer
If shouts were music
the whole world would be singing
Don’t ruin it.
Don’t ruin it.
Don’t ruin it.
KFB PAMPHLET SERIES 002
Embossed Cover on Mohawk Loop Straw 80lb.
Printed on Zephyr at Coach House.
Design: R. Kolewe
JIM JOHNSTONE is a Toronto-based poet, editor, and critic. He is the author of five previous collections of poetry, most recently The Chemical Life (Véhicule Press, 2017) and Dog Ear (Véhicule Press, 2014). He is also the winner of several awards including the Bliss Carmen Poetry Award, a CBC Literary Award, the Ralph Gustafson Poetry Prize, and Poetry’s Editors Prize for Book Reviewing. Currently, Johnstone curates the Anstruther Books imprint at Palimpsest Press, where he published The Next Wave: An Anthology of 21st Century Canadian Poetry in 2018.
R. KOLEWE THE WILD FOX
from the author of silence, then and The Absence of Zero
picking up pieces scraps & torn
postcards & library cards &
typewriter ribbon & only now
seeing myself all wrapped in
my self “by aporia pure & simple”
then & now how can I forget?
“Clear a space for it” you said.
THE WILD FOX
40 pages. Embossed Cover on Mohawk Loop Straw 80lb
Translucent Endpapers. Perfect Bound.
Printed on Zephyr at Coach House.
Design: R. Kolewe
SHANE NEILSON WALT
We would not be good enough for Whitman but he would be good to us.
Poets, have you had words electrocute you? If no, then you are not poets.
Words must do more than chasten you, force you to conform.
They stun you into care.
KFB PAMPHLET SERIES 003
Embossed Cover on Mohawk Loop Straw 80lb.
Printed on Zephyr at Coach House.
Design: R. Kolewe
SHANE NEILSON is a poet from New Brunswick who can never repay the debt he owes Walt Whitman. This unpayable debt makes for the conditions of a perfect love: nothing is asked for, nothing is required, and yet everything would be given.
SUE GOYETTE SOLSTICE 2020: AN ARCHIVE (Gaspereau Press)
NEW GOYETTE/GASPEREAU PRESS BEAUTY
SOLSTICE 2020: AN ARCHIVE
Every morning for the first 21 days of the locked-down and uncertain month of December 2020, Sue Goyette wrote a new poem to be published in Halifax’s The Coast that afternoon. Goyette’s skilful use of poetry’s artful unruliness—of its facility for reconciling our emotional and imaginative lives with occurrences in the everyday world—results in poems that illuminate a dark moment, contributing to “the work of imagining a way forward so there’s a bowl for everyone.”
Sue Goyette has published a novel and six previous collections of poetry, including Ocean (winner of the 2015 Lieutenant Governor of Nova Scotia Masterworks Arts Award and finalist for the 2014 Griffin Poetry Prize), The Brief Reincarnation of a Girl, and Penelope. She has won the Pat Lowther Memorial Award, the Atlantic Poetry Prize, the CBC Literary Prize for Poetry, the Earle Birney Prize, the ReLit Award, and the Bliss Carman Award. Goyette lives in Halifax, where she teaches creative writing at Dalhousie University. In 2020 she was appointed the city of Halifax’s eighth poet laureate.
JESSIE MACEACHERN A NUMBER OF STUNNING ATTACKS (Invisible)
“In her amazing debut volume of poetry, Jessi MacEachern unfolds a panoply of encounters, some at points of intersection, others at moments of separation. They are uneasily situated in narratives, but who the subjects are is subject to interpretation. And to change. A Number of Stunning Attacks is tantamount to a broad set of disorientations and disturbances, often unsettling and always generative, for both the poet and the reader. We might think of this as a poetry of the romantic distance that always lies between two people, a poetry of lyric impossibility. The thrill and anguish of that impossibility has captivated us for thousands of years. It is as ancient as the poetry of Sappho and as contemporary as the work contained in this book—a record of the perennial quest to let love be heard and to make love known.”—Lyn Hejinian
“In her debut poetry collection Jessi MacEachern shows that for a woman to sing with lyric force is to try to express a thought before the inevitable interruption. How do women ever get anywhere? A Number of Stunning Attacks is itself a stunning attack: a winnowing of language as precise as it is gleaming.”—Sina Queyras
“Jessi MacEachern’s first book of poetry strikes almost as a journal of the pronounced interiority all of us are living these days. A construction of sequences in which each passage on its own is a feast and lark, its poems unfold small mysteries that are dangerously calm, exploring intimate relations lived by women in the space of the house. In the rhythmic arborescence of precise lyric images, there are no totalities. Self-examining but never self-absorbed, MacEachern’s poems are saucy and savvy; via a female gaze onto gender and spacings, they pulse with uneasy but hard-won life.”—Erín Moure
KFB SELECTS SPRING 2021 (Alternate)
A NUMBER OF STUNNING ATTACKS
A raw and intimate testimony of the spatial and emotional difficulty of facing the self and the other
A Number of Stunning Attacks contributes to the ongoing association of fragmented forms and women’s writing, yet the insistent repetitions and crystallized imagery produce something more coherent than a fragment and more dynamic than a single whole. Drawing on a line of innovative women’s poetics in Canada, these poems recall the radical experiments of Lisa Robertson, Erìn Moure, and Gail Scott. Intoxicated by disorientation, the reader will ask: Which city is this? Which woman is this? Which reader am I? [Invisible]
Jessi MacEachern lives in Montreal, QC, where she teaches English literature. Her research has been published in Studies in Canadian Literature/Études en littérature canadienne and CanLit Across Media: Unarchiving the Literary Event. Her poetry has been published in various places, including Poetry Is Dead, Vallum, MuseMedusa, Canthius, PRISM, and CV2.
NICOLE BROSSARD MUSEUM OF BONE AND WATER Translation and Introduction by ROBERT MAJZELS and ERÍN MOURE
“An exquisite translation … Brossard’s work is serious, yet not sombre, and sometimes deeply erotic.” — Quill & Quire
MUSEUM OF BONE AND WATER
Translation and Introduction by ROBERT MAJZELS and ERÍN MOURE
Available for the first time in more than fifteen years, this collection from celebrated poet, novelist, and essayist Nicole Brossard is a provocative investigation of the human body — our physical and spiritual museums of identity and desire.
Nicole Brossard’s Museum of Bone and Water delivers sensual and provocative investigations of the human body — our physical and spiritual museums of identity and desire — that pulse and surprise at every turn. In this collection, fingers, lips, fists, cheeks mingle in the palm trees of Dublin and Key West, the heat of Palermo and Madrid. With each dazzling turn and each “crazy” silence, Brossard speeds our breath and quickens our hearts, reminding us that poetry too is both a physical and spiritual reality.
Museum of Bone and Water, a finalist for the Governor General’s Literary Award, is recognized as a major work in the oeuvre of leading Québécoise poet, novelist, and essayist Nicole Brossard — recently honoured with the Lifetime Recognition Award by the Griffin Trust for Excellence in Poetry. The collection is now available in a handsome A List edition with a new introduction by Robert Majzels and Erín Moure. [Anansi]
NICOLE BROSSARD’s collections of poetry have twice won the Governor General’s Literary Award and the Grand Prix de la poésie de la Fondation des Forges. She has been honoured with the Lifetime Recognition Award from the Griffin Trust for Excellence in Poetry, the Canada Council for the Arts Molson Prize, the Prix Athanase David, the inaugural Blue Metropolis Violet Prize, and the Harbourfront Festival Prize, among other awards, and her work has been translated into ten languages. She is an officer of the Order of Canada, chevalière of the National Order of Quebec, and a member of l’Académie des lettres du Québec. In addition to her poetry, Brossard has written novels, plays, and essays; directed two films; and co-founded the literary journal La Barre du Jour. She lives in Montreal.
One of Canada’s most eminent and respected poets, ERÍN MOURE is a translator from French, Spanish, Galician, and Portuguese, and the author of seventeen books of poetry. Moure has received the Governor General’s Literary Award, the Pat Lowther Memorial Award, and the A.M. Klein Prize, and she has been a three-time finalist for the Griffin Poetry Prize. Most recently, she has been a finalist for the 2018 Kobzar Literary Award. She lives in Montreal.
ROBERT MAJZELS won the Governor General’s Literary Award for his translation of France Daigle’s novel Just Fine, and he has been nominated for the Griffin Poetry Prize, the Governor General’s Literary Award, and the Best Translated Book Award for his translations (with Erín Moure) of Nicole Brossard’s poetry. He currently teaches creative writing at the University of Calgary.
STEPHEN COLLIS A HISTORY OF THE THEORIES OF RAIN (Talonbooks)
"Stephen Collis has achieved something remarkable: an invigorating body of work that convincingly addresses both the urgency of the present moment and the long echoes of our historical and lyrical past ... The depth and scope of Collis' vision is startling and impressive; so are the courage, precision, and care he brings to the poems he creates." - HOA NGUYEN + MARGO WHEATON, Writer's Trust of Canada jury citation
KFB SELECTS SPRING 2021
A HISTORY OF THE THEORIES OF RAIN
also available by subscribing to KFB SELECTS
AIDAN CHAFE GOSPEL DRUNK (UP Alberta)
"At the heart of Aidan Chafe's impressive sophomore collection is a bare-knuckle interrogation of organized, patriarchal religion. Languishing in the space between faith and doubt, the speaker of Gospel Drunk gives himself over to awe and observation, exploring violence, masculinity, addiction, and structural injustice in lyrics that are sonorous, deliberate, and searching." - Annick MacAskill, author of Murmurations
KFB SELECTS SPRING 2021
Gospel Drunk follows a speaker’s journey to find clarity and identity as he contemplates his Catholic upbringing and struggles with loneliness and alcohol addiction. Sharp, intoxicating imagery and a minimalist aesthetic combine in these poems to explore some of our darkest and strongest belief systems, dismantling them with wit and wisdom. Poignant boyhood memories of hockey coaches as “dragons in suits” collide with critiques of “the broken bicycle of recovery.” A child’s fingers interlace to form a gun during mass and Hulk attends an AA meeting. Boldly honest, Gospel Drunk is for all who seek humanity in a world where the personal and the political are equally complicated. (UP Alberta)
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Aidan Chafe is the author of Short Histories of Light, which was nominated for the Gerald Lampert Memorial Award. He has also published two chapbooks, Right Hand Hymns and Sharpest Tooth. His poems and reviews have appeared in journals including Arc, CV2, PRISM international, EVENT, and Vallum. He lives on the ancestral unceded homelands of the Coast Salish peoples (Burnaby, BC).
AARON TUCKER CATALOGUE D'OISEAUX (Book*hug)
“Tucker’s elegant lines, each a marvel, like the finest of lenses, draw us into exact focus, remind us of why we cascade trip fall head over heels at all. Here within the immensities of love we experience ourselves, trees, birds, streets, buildings, worlds, as bodies in every heightened, intricate detail, anew. My pilot light is aflame.” —Kirby, author of This is Where I Get Off
“Aaron Tucker’s Catalogue d’oiseaux fractures Olivier Messiaen’s music of the same name into poetic lenses through which to relive the past in a continuous and unfurling present. Nostalgia glows in romance, and is then activated through the vibrancy of art and the experience of bodies. This wondrous long poem creates a signature gesture of compound words, aligning the protagonists in their love and languagelove.” —Klara du Plessis, author of Hell, Light, Flesh
KFB SELECTS SPRING 2021
Aaron Tucker was born and raised on traditional Syilx territory in Lavington B.C. and now lives in Toronto as a guest on the Dish With One Spoon Territory. His novel, Y (2018), was translated into French as Oppenheimer in 2020. He is also the author of two previous poetry collections, including Irresponsible Mediums: The Chess Games of Marcel Duchamp (Book*hug Press, 2017). He is currently a PhD candidate in the Cinema and Media Studies Department at York University where he is an Elia Scholar, a VISTA Doctoral Scholar, and 2020 recipient of the Joseph-Armand Bombardier Doctoral Scholarship.
LISA FISHMAN MAD WORLD, MAD KINGS, MAD COMPOSITION (Wave)
MAD WORLD, MAD KINGS, MAD COMPOSITIONS
Spanning 16 years of notebooks, teaching notes, and improvisations, Lisa Fishman's Mad World, Mad Kings, Mad Composition upends time itself in lyric, prose, and visual forms. Sharing Paul Klee's intuition that "the eye travels along the path cut out for it in the work," this deeply multifaceted book moves between observational directness and maddened speech, places and persons, humor and alarm. Tempted by Laura Riding's renunciation of poetry yet rich with life-forms of all kinds (vegetable, animal, processual), it is a work of immediate presence and continuous change, enacting an ever-renewing ecology of connection in peril.
Lisa Fishman’s seventh book was recently released: Mad World, Mad Kings, Mad Composition (Wave Books, 2020). She is also the author of 24 Pages and other poems (Wave, 2015); F L O W E R C A R T (Ahsahta Press, 2011); Current (Parlor Press, 2011); The Happiness Experiment (Ahsahta, 2007); Dear, Read (Ahsahta, 2002) and The Deep Heart’s Core is a Suitcase (New Issues Press, 1996). Chapbooks by Fishman include at the same time as scattering (Albion Books, 2010), Lining (Boxwood Editions, 2009), KabbaLoom (Wyrd Press, 2008), and ‘The Holy Spirit does not deal in synonimes: a Transcription of Elizabeth Barrett Browning’s Marginalia in Her Greek and Hebrew Bibles’ (Parcel Press, 2008). A pamphlet, Deer 1, was published by Oxeye Press, 2015, and Note on Niedecker’s Takuboku was published as a pamphlet by The Brother in Elysium in 2015 (expanded in The Wave Papers, 2016).
Fishman’s work is anthologized in Best American Experimental Writing (Omnidawn, 2014), The Ecopoetry Anthology (Trinity University Press, 2013), The Arcadia Project: North American Postmodern Pastoral (Ahsahta Press, 2012), Not For Mothers Only (Fence Books, 2007), American Poetry: The Next Generation (Carnegie-Mellon University Press, 2000) and elsewhere. New work by Fishman appears in 6x6, Denver Quarterly, The Fairy Tale Review, touch the donkey, Aurochs and other journals. Fishman was a performer with Young Shakespeare Players (Madison, WI) from 2015-2018, the Lorine Niedecker Poet-in-Residence on Blackhawk Island in 2009, and recent Director of the MFA Program in Creative Writing at Columbia College Chicago, where she is Professor of English and Creative Writing. A Pushcart Prize nominee and PEN/Robert J. Dau Short Story Prize for Emerging Writers nominee, Fishman continues to live on the farm she and her husband started in 1999 in Orfordville, Wisconsin, dividing her time between Wisconsin, Chicago, and Nova Scotia. She is a dual US/Canadian and is a member of the Writers’ Union of Canada and the Writers’ Federation of Nova Scotia.
JOSHUA BECKMAN ANIMAL DAYS (Wave Poetry)
Readers interested in the fragment as a form, or in the relationship of the body to perception will appreciate how Beckman unfolds and rearranges the physical phenomena he describes.
Joshua Beckman was born in New Haven, Connecticut. He is the author of many books, including Animal Days (Wave, 2021), The Lives of the Poems and Three Talks (Wave Books, 2018), The Inside of an Apple, Take It, Shake, Your Time Has Come, and two collaborations with Matthew Rohrer: Nice Hat. Thanks. and Adventures While Preaching the Gospel of Beauty. He is editor-in-chief at Wave Books and has translated numerous works of poetry and prose, including Micrograms, by Jorge Carrera Andrade, 5 Meters of Poems (Ugly Duckling Presse, 2010) by Carlos Oquendo de Amat, and Poker (Ugly Duckling Presse, 2008) by Tomaž Šalamun, which was a finalist for the PEN America Poetry in Translation Award. He also co-edited Supplication: Selected Poems of John Wieners (Wave Books, 2015).
DOUGLAS KEARNEY SHO (Wave Books)
Kearney's prosody is miraculous. Explosive double beats launch the lines or hit the break like a hi-hat. Slant rhymes suggest infinite puns, but Kearney sometimes downshifts from complexity and just cruises around the neighborhood. Formalism as syncopation and signification: I can't think of another writer as gifted as Kearney is at sound.
Sho exemplifies the daring possibilities for poetry today. Despite the devastation held within our lexicon, words hold the dazzling potential that we can rise through language to "come up clutching what is under— / come back striking / what’s above.”
Eschewing performative typography, Douglas Kearney’s Sho aims to hit crooked licks with straight-seeming sticks. Navigating the complex penetrability of language, these poems are sonic in their espousal of Black vernacular strategies, while examining histories and current events through the lyric, brand new dances, and other performances. Both dazzling and devastating, Sho is a genius work of literary precision, wordplay, farce, and critical irony. In his “stove-like imagination,” Kearney has concocted poems that destabilize the spectacle, leaving looky-loos with an important uncertainty about the intersection between violence and entertainment. (Wave)
Douglas Kearney has published six collections, including Buck Studies (Fence Books, 2016), winner of the Theodore Roethke Memorial Poetry Award, the CLMP Firecracker Award for Poetry, and the California Book Award's silver medal in poetry. M. NourbeSe Philip calls Kearney’s collection of libretti, Someone Took They Tongues. (Subito, 2016), “a seismic, polyphonic mash-up.” Kearney’s Mess and Mess and (Noemi Press, 2015), was a Small Press Distribution handpicked selection that Publishers Weekly called “an extraordinary book.” He has received a Whiting Award, a Foundation for Contemporary Arts Cy Twombly Award for Poetry, residencies and fellowships from Cave Canem, the Rauschenberg Foundation, and others. Kearney teaches Creative Writing at the University of Minnesota–Twin Cities and lives in St. Paul with his family.
ROXANNA BENNETT THE UNTRANSLATABLE I (Gordon Hill Press)
from the award-winning author of Unseen Garden & Unmeaningable
"Through emphatic, headlong diction and images, Bennett documents the struggles of illness and isolation, armed with battered faith and searing introspection. Both despairing and brave, these poems are unforgettable." – Trillium Book Award for Poetry Jury
THE UNTRANSLATABLE I
(Gordon Hill Press)
The disabled poem-making entity known as Roxanna Bennett gratefully resides on aboriginal land. They are the author of The Untranslatable I (Gordon Hill Press, 2021) and the award-winning Unmeaningable (Gordon Hill Press, 2019).
A. F. MORITZ THE GARDEN a poem and an essay (Gordon Hill Press)
25 APRIL 2021 3PM EASTERN Gordon Hill Press 2021 Spring Launch with ROXANNA BENNETT KHASHAYAR MOHAMMADI A. F. MORITZ CONCETTA PRINCIPE at KFB
A. F. MORITZ
THE GARDEN a poem and an essay
(Gordon Hill Press)
A. F Moritz’s most recent books are As Far As You Know (2020), and The Sparrow: Selected Poems (2018), both from House of Anansi Press, and the 2015 re-publication by Princeton University Press of his 1986 volume, The Tradition. His twenty books of poetry have received such recognitions as the Griffin Poetry Prize, the Award in Literature of the American Academy of Arts and Letters, the Guggenheim Fellowship, and Poetry magazine’s Bess Hokin Award. Three of his books have been finalists for the Governor General’s Award in Literature for poetry.
NATALIE DIAZ POSTCOLONIAL LOVE POEM (Faber)
WINNER OF THE 2021 PULITZER PRIZE
SHORTLISTED FOR THE FORWARD PRIZE FOR BEST COLLECTION
SHORTLISTED FOR THE T. S. ELIOT PRIZE
POETRY BOOK SOCIETY RECOMMENDATION
POSTCOLONIAL LOVE POEM [Faber]
Postcolonial Love Poem is a thunderous river of a book, an anthem of desire against erasure. It demands that every body carried in its pages - bodies of language, land, suffering brothers, enemies and lovers - be touched and held. Here, the bodies of indigenous, Latinx, black and brown women are simultaneously the body politic and the body ecstatic, and portrayed with a glowing intimacy: the alphabet of a hand in the dark, the hips' silvered percussion, a thigh's red-gold geometry, the emerald tigers that leap in a throat. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dune fields and forests where pleasure and love are both grief and joy, violence and sensuality.
Natalie Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves. Her poetry questions what kind of future we might create, built from the choices we make now - how we might learn our own cures and 'go where there is love'. [Faber]
Natalie Diaz was born and raised in the Fort Mojave Indian Village in Needles, California, on the banks of the Colorado River. She is Mojave and an enrolled member of the Gila River Indian Tribe. Her first poetry collection, When My Brother Was an Aztec, won an American Book Award. She is a 2018 MacArthur Fellow, as well as a Lannan Literary Fellow and a Native Arts and Cultures Foundation Artist Fellow. She was awarded the Holmes National Poetry Prize and a Hodder Fellowship from Princeton University. She is a member of the Board of Trustees for the United States Artists, where she is an alumna of the Ford Fellowship. Diaz is the Maxine and Jonathan Marshall Chair in Modern and Contemporary Poetry at Arizona State University.
CANISIA LUBRIN THE DYZGRAPHXST
THE MOST HERALDED COLLECTION OF 2020
Windham-Campbell Prize, Winner
OCM Bocas Prize for Caribbean Literature, Winner
OCM Bocas Prize for Caribbean Literature Poetry, Winner
Griffin Poetry Prize, Finalist
Derek Walcott Prize for Poetry, Finalist
Rebel Women Lit Caribbean Reader’s Awards, Finalist
Governor General’s Literary Award for Poetry, Finalist
Trillium Book Award for Poetry, Finalist
Raymond Souster Award, Longlist
Pat Lowther Memorial Award, Longlist
Quill & Quire 2020 Books of the Year: Editor’s Picks
CBC Best Canadian Poetry of 2020
Winnipeg Free Press Top 10 Poetry Picks of 2020
The Paris Review, Contributor’s Edition, Best Books of 2020
Canisia Lubrin returns with a mesmerizing new collection, the follow-up to her breakout book, Voodoo Hypothesis.
The Dyzgraphxst presents seven inquiries into selfhood through the perennial figure Jejune. Polyvocal in register, the book moves to mine meanings of kinship through the wide and intimate reach of language across geographies and generations. Against the contemporary backdrop of intensified capitalist fascism, toxic nationalism, and climate disaster, the figure Jejune asks, how have I come to make home out of unrecognizability. Marked by and through diasporic life, Jejune declares, I was not myself. I am not myself. My self resembles something having nothing to do with me. (M&S)
CANISIA LUBRIN is a writer, editor, and teacher. Her work is published widely and has been frequently anthologized, including translations into Italian and Spanish. Lubrin’s debut poetry collection Voodoo Hypothesis, was named a CBC Best Poetry Book, longlisted for the Gerald Lambert Award, the Pat Lowther Award, and a finalist for the Raymond Souster Award. She was a finalist for the Toronto Book Award for her fiction contribution to The Unpublished City: Vol 1 and 2019 Writer in Residence at Queen’s University. Lubrin holds an MFA in Creative Writing from the University of Guelph.
KHASHAYAR MOHAMMADI ME, YOU, THEN SNOW (Gordon Hill Press)
"Queer punk pubs, porn, philosophy, and cinema are dissected & refracted with exquisite tenderness in the coldly brilliant fire that is Khashayar Mohammadi’s You, Me, Then Snow. From the quotidian to the cosmic, like a kestrel in a turquoise sky, Mohammadi’s poems soar in dizzying, dazzling ecstasy. Vulnerable, intimate, darkly comedic, and terrifyingly intelligent, this collection of the “borderline metaphysical” will get you wet, erect, then break your heart, leaving you desperate for more." — Roxanna Bennett, author of Unmeaningable
"Cinematic, sensuous, and deeply perceptive, Me, You, Then Snow turns assumptions of language inside out and celebrates the curiosity of the translingual. Seemingly straightforward language is made to recoil from meaning, then transgress, expand, and flourish across linguistic, geographic, and interior landscapes. Khashayar Mohammadi is an exceptional new voice, and a poet whose writing excites me." — Klara du Plessis, author of Unfurl
YOU, ME, THEN SNOW
Khashayar Mohammadi is an Iranian-born, Toronto-based writer and translator. He is the host of knife| fork | book’s monthly Chapbook Club and the author of chapbooks Moe’s Skin with ZED PRESS and Dear Kestrel with knife | fork | book. He is currently working on a full length translation anthology of contemporary female Persian poets.
MOLLY CROSS-BLANCHARD EXHIBITIONIST
“Multiple orgasms appear in the first line of the first poem in Exhibitionist. Multiple orgasms, as a relative image or a practice, elicit everything from mystical worship to moral panic. Molly Cross-Blanchard understands this diametric power. She nods to this power with countless crisp and explicit images throughout her debut collection. Read her poems first to marvel at the well-crafted voicing of sexuality. Read a second time to appreciate Cross-Blanchard’s beautiful charge of juxtaposition. Again and again, she places the erotic beside mundane so that both are transformed — a dirty basement carpet becomes the backdrop of profound intimacy and gas station coffee acts as a symbol of self-discovery. ” –Amber Dawn, author of My Art is Killing Me and Sodom Road Exit
Molly Cross-Blanchard is a Métis writer and editor born on Treaty 3 territory (Fort Frances, ON), raised on Treaty 6 territory (Prince Albert, SK), and living on the unceded territory of the Musqueam, Squamish, and Tsleil-Waututh peoples (Vancouver, BC). She holds an English BA from the University of Winnipeg and a Creative Writing MFA from the University of British Columbia, and is the Publisher at Room Magazine.
'Breathless and death defying, the poems in Because the Sun are high-wire work. They sway above us in a blazing light of Burgoyne's making. It is so rare that a book of poems is botha tuning fork for our minds as well as a balm for our bodies. But that is exactly what happens page after page in this blazing book.' —MICHAEL DICKMAN, author of Days & Days
BECAUSE THE SUN
Sarah Burgoyne's first collection Saint Twin (Mansfield, 2016) was a finalist for the A. M. Klein Prize in Poetry, awarded a prize from l'Academie de la vie litteraire, and shortlisted for the ReLit Award. Other works have appeared in journals across Canada and the U.S., have been featured in scores by American composer J.P. Merz, and have appeared within or alongside the visual art of Susanna Barlow, Jamie Macaulay, and Joani Tremblay. She currently lives and writes in Montreal.
IAN WILLIAMS WORD PROBLEMS (Coach House)
2021 RAYMOND SOUSTER AWARD WINNER
suppose you are supposed to be white in other words suppose you are supposed to be a white being suppose being white in most spaces would be easier than being yourself by spaces here I mean
(Coach House Books)
Ian Williams is the author of the Giller Prize-winning novel Reproduction . His last poetry collection Personals was shortlisted for the Griffin Poetry Prize and the Robert Kroetsch Poetry Book Award. His short story collection, Not Anyone's Anything, won the Danuta Gleed Literary Award for the best first collection of short fiction in Canada. His first book, You Know Who You Are, was a finalist for the ReLit Poetry Prize. Williams holds a Ph.D. in English at the University of Toronto and is currently an assistant professor of poetry in the Creative Writing program at the University of British Columbia. He was the 2014-2015 Canadian Writer-in-Residence for the University of Calgary's Distinguished Writers Program. Ian Williams currently resides in Vancouver, BC.
BERTRAND BICKERSTETH THE RESPONSE OF WEEDS (NeWest Press)
Only a few left!
2021 GERALD LAMPERT MEMORIAL AWARD WINNER
"The Response of Weeds draws us into a confluence of geography, music, and identity, in which the voices of 20th Century Black artists fluidly merge with the prairies. In Bickersteth’s interpretation we hear a blue modality and we feel Alberta sung as a point of arrival and departure, a junction in the diaspora. This collection questions place and belonging as it amplifies the Black prairie." - KAIE KELLOUGH, author of Magnetic Equator
THE RESPONSE OF WEEDS
From the jurors:
Bickersteth’s vision powerfully highlights the erasure of Black communities in the Prairies and claims those histories and presences in the movements of land. The Response of Weeds is a work of research of a stunning range, occupying a powerful space in Canadian poetry. It reveals through its polyvocality and song-like lyricism the stories that no one else can tell but that generously involve and include the reader. Bickersteth’s work re-inserts the presence of Black subjectivity into “an easing confluence/ that confuses complaint in this country” that makes us realize what we lose by not attending to these dramatis personae of invisible men and women, made visible by his vivid figuration.
Born in Sierra Leone, BERTRAND BICKERSTETH grew up in Edmonton, Calgary, and Olds, Alberta. After an English degree at UBC, Bertrand continued studying in the U.K. and later taught in the U.S. A return to Alberta provided him with new insights on black identity and most of his writing has been committed to these perspectives ever since. Although he writes in several genres, anticlimactically, the topic is always the same: what does it mean to be black and from the prairies? He has also given many public talks including a TED Talk for BowValleyCollegeTEDx called The Weight of Words. His poetry has appeared in several publications, including most recently The Antigonish Review, Cosmonauts Avenue, and The Fieldstone Review. He has also been published in The Great Black North and the forthcoming anthology The Black Prairie Archives (2020). In 2018, he was longlisted for the CBC Poetry Prize. He lives in Calgary, teaches at Olds College, and writes everywhere.
YUSUF SAADI PLUVIOPHILE (Nightwood Ed)
"This is a debut to celebrate." — Steven Heighton
Yusuf Saadi won the Malahat Review’s 2016 Far Horizons Poetry Award and the 2016 Vallum Chapbook Award. At other times, his writing has appeared (or is forthcoming) in magazines including Brick, the Malahat Review, Vallum, Grain, CV2, Prairie Fire, PRISM international, Hamilton Arts & Letters, This and untethered. He is also an executive editor at Sewer Lid magazine. He holds an MA in English from the University of Victoria.
REBECCA SALAZAR SULPHURTONGUE (M&S)
"Rebecca Salazar's poetry is a life-preserver in a sea of prejudice, pain, and confusion. Her words sing us back to what's essential: truth, often cutting but always necessary, and beauty, found in the least likely of places." — Alicia Elliott, author of A Mind Spread Out on the Ground
"The sprawling visionary heft of sulphurtongue recoils the diluted senses of earth and skin, sex and sulphur dioxide, queerness and religion, and more to reveal their deeper labyrinths of meaning. The singular power of this work rests not only in its wholly mature command of the craft, but in how Salazar’s sulphurtongue is a burning votive towards a world where the warped silos of history’s personal, ecologic, and collective toll gather toward a new imagining. A shimmering, head-long, heart-spin of a debut." — Canisia Lubrin, author of The Dyzgraphxst
REBECCA SALAZAR (she/they) is a writer, editor, and community organizer currently living on the unceded territory of the Wolastoqiyik people. The author of poetry chapbooks the knife you need to justify the wound (Rahila's Ghost) and Guzzle (Anstruther), Salazar also edits for The Fiddlehead and Plenitude magazines.
NOOR NAGA WASHES, PRAYS
2021 PAT LOWTHER MEMORIAL AWARD WINNER
RBC Bronwen Wallace Award winner Noor Naga's bracing debut, a novel-in-verse about a young woman's romantic relationship with a married man and her ensuing crisis of faith.
Coocoo is a young immigrant woman in Toronto. Her faith is worn threadbare after years of bargaining with God to end her loneliness and receiving no answer. Then she meets her mirror-image; Muhammad is a professor and father of two. He's also married.
Heartbreaking and hilarious, this verse-novel chronicles Coocoo's spiraling descent: the transformation of her love into something at first desperate and obsessive, then finally cringing and animal, utterly without grace. Her best friend, Nouf, remains by her side throughout, and together they face the growing contradictions of Coocoo's life. What does it mean to pray while giving your body to a man who cannot keep it? How long can a homeless love survive on the streets? These are some of the questions this verse-novel swishes around in its mouth. (M&S)
NOOR NAGA is an Alexandrian writer who was born in Philadelphia, raised in Dubai, studied in Toronto, and now lives in Alexandria. She is the winner of the 2017 Bronwen Wallace Award, the 2019 Disquiet Fiction Prize, and the 2019 Graywolf Press Africa Prize. Her work has been published or is forthcoming in Granta, The Walrus, The Common, The Sultan's Seal, POETRY, and more. Her debut novel American Girl and Boy from Shobrakheit is forthcoming from Graywolf Press in Fall 2021.