Anna van Valkenburg’s debut poetry collection, Queen and Carcass, is a rich, unpredictable, and deeply surreal exploration of identity and the contradictions we embody. These poems, set in locations real and imaginary, magical and banal, inhabited by figures out of Slavic folklore and a Boschian landscape, strive to unearth truths—especially those that are difficult or uncomfortable. At once ecstatic, meditative, and grotesque, these poems confront some of the most fundamental existential questions.

Part memoir, part polemic, Rain City, is his version of a fat old Sixties rock band’s Greatest Hits album.

Whether considering the simplicity of a butterfly in flight or the terror of a cancer diagnosis, Heidi Greco confronts the world head-on, yet always with the fresh eyes of the stranger in our midst. The issues she addresses belong to the world; the settings she employs are international.

News coverage of the fall of Baghdad and its aftermath were the inspiration for Ravenna Gets, especially the smaller stories of people being killed suddenly in their homes in the middle of otherwise normal days. Each story in Ravenna begins as any novel might, but abruptly loses the luxury of becoming a novel through a seemingly random and violent intrusion from beyond the world established by the story. The effect is intended to be that of the experience of war as the sudden end of stories, rather than being a war story itself. This destabilizing ‘pinch’ seeps into the consciousness of some of the stories, but not as a consciousness of events, but rather as nightmarish bends in experience and perception.
Ravenna Gets could probably be classified as speculative fiction, influenced by J.G. Ballard, and, though experimental in spirit, it employs strong conventional storytelling techniques.

Reading the Riot Act is a popular history that rereads and rewrites the legacy of riots in Vancouver. The project was conceived following the city’s Stanley Cup riots in 1994, when official reports and media coverage differed significantly from eyewitness accounts. Later, media reports on the APEC riots downplayed and obscured certain facets of the conflict.

Reckoning is one long poem in search of itself, its own meaning. A synecdoche of verse, segments calling and responding to each other, like jazz musicians riffing back and forth in a late-night smokey speakeasy. Snippets of conversation make it through the air, across the space that seems vast even in its closeness. We are big, we are small, there is eternity in a birdcall. This is end times, yet beginnings surround us. They are there in memory, in grief, in happiness, and in song.

Red Mango is a one-man play about a “single celibate sensualist” who constantly thinks about women—though not for sex, but for sweaty joy and sensual contact on the booming dance floors of Victoria’s blues clubs.

Burnham's poetry works at the edges of meaning, propriety, and the commodification of language. Combining elements of found text—the overheard, the over-read—he recasts his findings in various combinations that are unique to their presentation on the page. The essentials of language, how people use it—and how it uses them—is Burnham's main concern.

Through forty-three personal essays, Resonance: Essays on the Craft and Life of Writing brings together insights from writers and publishers across Canada on the practices that fuel their work.

The Revolving City: 51 Poems and the Stories Behind Them is a vibrant and diverse collection from a who’s who of the west coast poetry scene.