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These poems are steeped in loss and lament as they concern the death of the poet’s family members, particularly her father and the premature death of two brothers two years apart. The collection’s tone is often elegiac, but rarely maudlin, and the clipped narrative is frequently imbued with lyrical strains.There is an abundance of quotes and hat-tip allusions that act as sign posts along the grieving journey.

"In his final years, Richard Harrison's father suffered from a form of dementia, but he died without ever forgetting the poems he had memorized as a student and had taught to Richard as a child. In 2013, the poet feared his father's ashes had been lost in the flood water that ravaged Alberta--a crisis that would become the inciting event and central theme of this collection.

Surrey Stories connect is a time-capsule: a snapshot of Surrey in the fall of 2016. The stories here were written and created on three separate afternoons at three different locations: Cloverdale, Strawberry Hill, and Historic Stewart Farm. These Surrey stories are 'moments created in one sitting' whre individual voices are able to shine.

A collection of poetry about aging, grief, and the eccentricities of the natural world -- a cockroach, an eggplant.

This debut poetry collection from Lisa Bird-Wilson reflects on the legacy of the residential school system: the fragmentation of families and histories, with blows that resonate through the generations. Inspired by family and archival sources, Bird-Wilson assembles scraps of a history torn apart by colonial violence.

Burning in this Midnight Dream is the latest collection of poems by Louise Bernice Halfe. Many were written in response to the grim tide of emotions, memories, dreams and nightmares that arose in her as the Truth and Reconciliation process unfolded. 

In Never Mind, Katherine Lawrence constructs a centuries-old immigrant tale that is fiercely feminist, surprisingly modern and darkly funny. The voice in these exquisite poems is a 19th century woman who straddles both old and new worlds as she navigates her own interior landscape. Observations are wry, intimate, and shot with musicality.

Poetry is Lindsay Marshall's way of telling stories, of speaking with others about what things that matter to him. His heritage. His people. His life as a Mi'kmaw. For the reader, Clay Pots and Bones is a colourful journey from early days, when the People of the Dawn understood, interacted with and roamed the land freely, to the turbulent present and the uncertain future where Marshall envisions a rebirth of the Mi'kmaq. The poetry challenges and enlightens. It will, most certainly, entertainches

A collection of laments and celebrations that reflect on our struggle to believe in the future of a world that continues to disappoint us. The poet challenges the boundaries of sleep and even death in these meditations on what lies just beneath the surface of contemporary life. These are poems that trouble over the idea of failure even as they continually recommit to the present moment. This is fierce music performed in a minor key.

Après «Le poème est une maison de long séjour», «Le poème est une maison de bord de mer» constitue le second volet de la trilogie «Catalogues affectueux». L'ensemble se veut une réflexion à la fois théorique et lyrique sur l'inscription de la parole poétique dans ce qu'il est convenu d'appeler très légèrement la biographie. Et cela aurait aussi pu être cyniquement intitulé «Tentative d'autobiographie poétique non-autorisée»... Ou alors, plus sérieusement «Pour une théorie générale de la mélancolie».