Bounce House is a collection of small containers for the uncontainable. Restrained in form but not feeling, Harper’s fourth book explores the cyclical nature of grief, imperfect parenting, and our willingness to jump without promise of a safe landing.
By Kevin Spenst
Playful in form and formed full of play, this fourth book of poetry by Kevin Spenst explores loss, love and faith through the palindrome, Madlib, Fibonacci, found poem, prose poem, sonnet and various strains of free verse.
But the sun, and the ships, and the fish, and the waves, Conyer Clayton’s follow-up to her award-winning debut, We Shed Our Skin Like Dynamite, is a collection of prose poems that employs surrealism, humour, and body horror to cope with CPTSD, assault, loss, fear, and the memories of it all.
By Evelyn Lau
Set against a backdrop of shifting weather and a blasted, mysterious landscape, Cactus Gardens explores the complexity and intensity of personal relationships. The narrator drifts through a variety of locales, from a hospital ward to a lakefront hotel, a downtown condo, and restaurant patios, depicting friendships that are as meaningful and volatile as romantic entanglements.
The poems in Catastrophe Theories reflect an increasingly unstable, surreal, and catastrophic world. Written over the past decade, the poems in Mari-Lou Rowley’s oracular work capture the zeitgeist of the moment. A world where human folly and frailty compete with corpocracy and technological determinism against the stubborn magnificence of the natural world.
By Mark Jarman
From the author of 19 Knives and My White Planet comes a brilliant suite of stories built around music and travel. The five stories that comprise Czech Techno are replete with the sizzle and jump we have come to expect from a Mark Jarman story. And matters of the heart are never far away, weaving through these tales like a knife blade through sand.
In this collection of linked stories—part surreal picaresque, part dark comedy, and part murder mystery—magic meets the mundane as misfits and miscreants struggle to free themselves from untenable situations.
On April 1, 1968, a tall, bespectacled, thirty-five-year-old former social worker named Joachim Foikis received $3,500 from the Canada Council for the Arts in order to finance a unique, self-imposed mission unseen since Elizabethan England: reinvent the vanished tradition of “Town Fool.”
By Heidi Greco
Cinematic film, the art form that came into its own in the 20th Century, is not only familiar to all of us, but is likely the form that lodges most clearly in memory. Like music — and the music employed in a film — scenes come back, often carrying emotion as well as remembrance. One such film is Harold and Maude…
