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Copper Woman and Other Poems is a collection of poems that announces a humanistic vision, dealing with such themes as rebirth (physical and symbolic), mythology, memory, bondage, blood, family, identities in flux, migration, politics and flights of fancy. The contents move back and forth between the past and the present, and project into the future, envisioning a new world/a new creation. The message that we are our brothers and our sisters keepers and that the earth is our home – a home that we must protect and keep safe if we are to survive – resonates throughout.

In this Ottawa writer's first volume of verse, there are trees, of course—catalpas on stained-glass transoms, an ever-present crabappel, nameless species in whose bare branches the winter solstice lurks. There is music, too—a whorehouse tango, a string quartet enthralling a favourite cat, the silky caress of a clarinet along the remembered flesh of adolescence. And visual art, from the Middle Ages through Matisse, is reenacted in vignettes of desire or dereliction.

In Prime, Miranda Pearsons first collection of poetry, the narratives of female identity, the white wedding, and the enshrined position of the mother are interrogated, using the lyric as a form of cultural critique in an examination and mockery of romantic love and heterosexual relationships. At the same time, the poems constitute an irreverent, lush romp, a celebration of friendship and absurdity. Gritty and darkly humorous, Pearsons verses address modern myths head-on in a world where love watches itself critically and consciously.

Of one of Mark Frutkin's previous books of verse, Poetry Canada Review said it provided "a supernatural fusion of the earthbound with the heavenly to forge the lightning of poetry." Divided into two sections, one inspired by ancient Chinese art, the other limning the ambiguities and incongruities of the contemporary human condition, Frutkin's new volume of poetry, Iron Mountain, often presents human beings wandering in the wilderness between two abysses while still appreciating the smell of pines, the softness of the rain, the brilliance of the stars, the hum of the comp

Memories of farming in the 1940s conjure up images of horse-drawn farm machinery, grain stooks in fields, hay meadows, free-range chickens and cords of wood strategically placed for fuelling the kitchen range – all before farming became the highly technical, big-time operation it is now. Author Victor Carl Friesen was born and raised on a quarter section farm in Saskatchewan and still owns the "home place." It is there he still goes to renew his inner being. His poems, grouped into seasonal activities or observations, celebrate the rural world.

In her new volume of verse, Bowering continues her rigorous, ambitious path and delivers poems that blend a variety of personalities, times, and places that add up to an overall substance she sees as happiness. Like an alchemist of old, she transmutes experiences, perceptions, and perspectives into something richer and rarer despite the passage of years and the loss and death they have brought.

I stuck my toes In my noseAnd I couldn’t get them out… Silly, funny, and outrageous, Toes in My Nose is the book that launched Sheree Fitch’s career as Canada’s premiere nonsense poet. From Popcorn Pete and Mabel Murple to Zelba Zinnamon, these are some of the best-loved poems and characters in Canadian children’s literature. In this twenty-fifth anniversary edition, award-winning illustrator Sydney Smith’s new illustrations hilariously portray a neighbourhood of kids flying to the moon, playing banjo with orangutans, and bathing with submarines.

From patchwork-quilt farmland to the winding red roads, from sandy beaches to the endless stars at night, Apples and Butterflies shows Prince Edward Island shining in the bright blue and gold light of fall. Shauntay Grant's award-winning poetry and Tamara Thiébaux Heikalo's rich and wild illustrations pull the reader towards the wide-open space of the island. New softcover edition.

At once casting aside and reinventing the confessional mode, Liar is a booklength monument to love found, betrayed, renounced, and ultimately accepted as transformative. The white-hot immediacy of detail and scorching emotional honesty of Liar make for a compelling tour through one lover's accounting for her own actions and those of her beloved. From the delusion of ownership to the pain of estrangement, Crosbie's surgical intelligence exposes what romantics so often refuse to acknowledge: the lover's own complicity in her joy and suffering.

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.