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.

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.

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.

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.

In English, to rue is to regret; in French, la rue is the street – Rue’s poems provide the venue for moments of both recollection and motion. Punctuated with neologisms and the bilingual dialogue of Montreal, the collection explores the author’s upbringing in the working-class neighbourhood of St. Henri with her artist mother, follows her travels, friendships, and loves across North America, Europe, and Russia, and recounts her journalist father’s struggles with terminal brain cancer.

Scofflaw is a long poem, a playful exploration of Indigenous-Settler relations amid globalized pressures.

Writers, like skaters, score the blank sheet and test the edge of inclusion and exclusion. Most of these poems begin with a word from skating and push off to another topic. Others revisit ideas of femininity, control, and language as pattern, or visit the past through movement, or enact principles from the rink such as symmetry, joy, endurance, crescendo and accent, revolution, response.

Heather Haley’s poetry is tough, irreverent, and in-your-face. She asks all the questions that a nice girl’s not supposed to ask. Down back roads and highways, her characters long to possess the past and harness the future. Cowboys, car accidents, broken hearts, dead lovers—and potential violence—hover like heat on the horizon.

Signs of the Times reunites the poetry of Bud Osborn and the woodprints of Vancouver printmaker and painter Richard Tetrault. As with their first collaboration, Oppenheimer Park, Signs of the Times is both an unflinching look at Vancouver’s Downtown Eastside and a beautiful object in its own right.

Singer, An Elegy is a long poem memorializing the author’s father and, equally, the now-obsolete industrial culture that shaped him.