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Fiction. Edited with an Afterword by Michael Boughn. Primarily known as a poet, H.D. was also a prolific prose writer. In fact her writing career began with the publication of children's stories in Sunday school magazines. She wrote several novels, only two of which were published in her lifetime, and a number of short stories and novellas, some of which were published under pseudonyms. Two of the three stories reprinted here for the first time were published in the 1920s under the names Rhoda Peters and D. A. Hill in Pagany and Life and Letters Today. The third story--really a novella--was published in Alfred Kreymborg's anthology The Second American Caravan in 1928 and has been unavailable ever since. These stories offer a remarkable insight into H.D.'s thinking as she struggled to develop her work at a transitional time in her life."This is H.D. at her best, speaking, making real for us the range of feeling of those possibilities at the edge of our known and defined experience which have not been spoken before. It is what I have called to myself the 'courage of the tenuous'--the quality in her which has most value for me as an artist, especially as a woman artist; the willingness to speak of what cannot be proved. What cannot, even, to be pointed to in the consensus world we precariously share with each other."--Diane Di Prima

The experience of motherhood is monumental, yet rarely discussed in connection with literary or creative life. How do we navigate the twin devotions of love and art? How does motherhood disrupt the creative process? How does it enhance it?Good Mom on Paper is a collection of twenty essays that goes beyond the clichés to explore the fraught, beautiful, and complicated relationship between motherhood and creativity. These texts disclose the often-invisible challenges of a literary life with little ones: the manuscript written with a baby sleeping in a carrier, missing a book launch for a bedtime, crafting a promotional tour around child care. But they also celebrate the systems that nurture writers who are mothers; the successes; the intricate, interconnected joys of these roles.Honest and intimate, critical and hopeful, this collection offers solace and joy to creative mothers and asks how we can better support their work. Mothers have long been telling each other these vital stories in private. Good Mom on Paper makes them available to everyone who needs them.With contributions by Heather O'Neill, Lee Maracle, Jael Richardson, Carrie Snyder, Alison Pick, Meaghan Strimas, Sofia Mostaghimi, Rachel Giese, Lorri Neilsen Glenn, Erin Wunker, Jónína Kirton, Jennifer Whiteford, Teresa Wong, Nikkya Hargrove, S. Lesley Buxton, Amber Riaz, Adelle Purdham, Harriet Alida Lye, and Kellee Ngan.A portion of each sale will be donated to the Mothers Matter Centre: a not-for-profit organization dedicated to empowering isolated, at-risk mothers.

A story of identity, connection and forgiveness, A Convergence of Solitudes shares the lives of two families across Partition of India, Operation Babylift in Vietnam, and two referendums in Quebec.Sunil and Hima, teenage lovers, bravely defy taboos in pre-Partition India to come together as their country divides in two. They move across the world to Montreal and raise a family, but Sunil shows symptoms of schizophrenia, shattering their newfound peace. As a teenager, their daughter Rani becomes obsessed with Quebecois supergroup Sensibilité--and, in particular, the band's charismatic, nationalistic frontman, Serge Giglio--whose music connects Rani to the province's struggle for cultural freedom. A chance encounter leads Rani to babysit Mélanie, Serge's adopted daughter from Vietnam, bringing her fleetingly within his inner circle.Years later, Rani, now a college guidance counselor, discovers that Mélanie has booked an appointment to discuss her future at the school. Unmoved by her father's staunch patriotism and her British mother's bourgeois ways, Mélanie is struggling with deep uncertainty about her identity and belonging. As the two women's lives become more and more intertwined, Rani's fascination with Mélanie's father's music becomes a strange shadow amidst their friendship.

Expansive and enveloping, Webb-Campbell's collection asks, "Who am I in relation to the moon?" These poems explore the primordial connections between love, grief, and water, structured within the lunar calendar. The poetics follow rhythms of the body, the tides, the moon, and long, deep familial relationships that are both personal and ancestral. Originating from Webb-Campbell's deep grief of losing her mother, Lunar Tides charts the arc to finding her again in the waves. Written from a mixed Mi'kmaq/settler perspective, this work also explores the legacies of colonialism, kinship and Indigenous resurgence.Lunar Tides is the ocean floor and a moonlit night: full of possibility and fundamental connections.Praise for Lunar Tides"In Lunar Tides, Shannon Webb-Campbell exposes a heart that's broken but also carried across the gulf between the moon and the sea, a heart that knows how "grief takes up with the body." She shows us that grief is tidal, its ebb and flow pulsing like the moon and dog-earring our memories. This book reminds us that, grieving or not, we "need to be held by something other than a theory." --Douglas Walbourne-Gough, author of Crow Gulch"Lunar Tides is both expansive and exacting, inviting us to feel our own relationship to the ocean, belonging and mortality." --Shalan Joudry, author of Walking Ground

"I have never been faced with a moral crisis, let alone a matter of life or death."Peter Simons doesn't spend much time at home in his bachelor apartment. Thanks to his job at a multinational company, he is often flying around the world, enjoying a life of luxurious solitude in five star hotels. So when he returns after being away for nine months and notices a strange smell coming from his neighbour's apartment, he initially tries not to get involved, but when a body is discovered Peter's carefully cultivated detachment begins to crumble. And when new neighbours move into the vacant apartment he gets caught up in a petty dispute that will bring him to the brink of moral ruin.Bystander is a pitiless, bold work of intense psychological realism narrated by a professionally successful but socially bankrupt anti-hero who expects global connection and local anonymity. It excoriates the contingency of contemporary morality, and, at a time of growing isolation, forces the reader to examine what it means to be a good neighbour.

Imminent Domains: Reckoning with the Anthropocene invites readers to join a contemplation of survival--our own, and that of the elements that surround us. Using research, lyric prose, and first-hand experiences, Alessandra Naccarato addresses fundamental questions about our modern relationship to nature amidst depictions of landscapes undergoing dramatic transformation.We trace the veins of harm, memory and meaning amongst ecosystems and bioregions; through history and across continents, from the mines of Cerro Rico to the ruins of Pompeii. Arranged by five central elements of survival--earth, fire, water, air and spirit--these essays refute linearity, just as nature does.Naccarato offers not blanket answers about our future, but rather myriad ways to find our own, individual response to an imminent question. We are being called to work together; to dig a trench deep and wide enough that the fires around us might stay at bay. How do we turn towards the fire?

Poetry. Lisa Robertson's latest book of poetry is a work that will be both familiar and fresh to anyone who has read her acclaimed work. THE MEN explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in THE MEN. At once intimate and oblique, humorous and heartbreaking, composed and furious, THE MEN seeks to defamiliarize both who, and what, men are. "In THE MEN, as in much of her work, Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture"--Village Voice. "Robertson writes both from within and against the tradition-splitting, seeding, and suturing the cracks in each ideational edifice.... Her occupations with past forms lead not to a backward-looking poetry but forward to a fresh field of inquiry, an imaginatively created utopia"--Boston Review.

Set in the 90s, alternating between the storied quads of Oxford University and the dank recesses of London pubs given over to public displays of queer BDSM, Learned chronicles poet and Rhodes Scholar Carellin Brooks' extreme explorations of mind and body. In these poems, the speaker trembles on the verge of discovery, pushing her physical limits through practices of pain, permission, and pleasure. But her inability to negotiate the unspoken elite codes of Oxford begs the question: how to unlearn a legacy of family dissolution and abuse? Bold, nuanced, and ultimately triumphant Learned chronicles an intimate education in flesh, desire, and bodily memory.

Vox Humana (Latin for "human voice") is driven by a sense of political urgency to probe the ethics of agency in a world that actively resists the participation of some voices over others.In and through literary experiments with word and sound, utterance and song, Vox Humana considers the different ways a body can assert, recount, proclaim, thus underscoring the urgency of doing so against the de-voicing effects of racism and institutional violence.As the title also represents an organ reed that sounds like the human voice, so DeRango-Adem shares her reclaiming of the instrument traditionally accessed by the white establishment.These poems are born from the polyphonic phenomenon of the author's multilingual upbringing. They are autobiographical and alchemical, singular and plural, but, above all, a celebration of the (breath) work required for transformation of society and self.

Part essay, part poem, part fever dream journal entry, Dream Rooms is a book about personal revolution, about unravelling a worldview to make space for different selves and realities. Set in the years that led up to author River Halen coming out as trans, this collection concerns itself with what sits on the surface of daily life, hidden in plain view, hungry for address--what it means to take a stranger's pet rabbit to the vet in a year of accelerating extinctions, to lose your clothes to a moth infestation then buy a duvet made of fossil fuels, to learn your bookshelf is full of work written by rapists and rape apologists, to consider a birth control device as a narrative about bodies and their possibilities, then pull the string. Deeply queer and trans not only in its content but in its thinking, Dream Rooms invites readers to that place in consciousness where fear and desire, hidden information and common knowledge brush up against each other and are mutually transformed.

Longlisted for the 2023 Carol Shields Prize for FictionA riveting exploration of the complexity within mother-daughter relationships and the dynamic vitality of Vancouver's former Hogan's Alley neighbourhood.1930s, Hogan's Alley--a thriving Black and immigrant community located in Vancouver's East End. Junie is a creative, observant child who moves to the alley with her mother, Maddie: a jazz singer with a growing alcohol dependency. Junie quickly makes meaningful relationships with two mentors and a girl her own age, Estelle, whose resilient and entrepreneurial mother is grappling with white scrutiny and the fact that she never really wanted a child.As Junie finds adulthood, exploring her artistic talents and burgeoning sexuality, her mother sinks further into the bottle while the thriving neighbourhood--once gushing with potential--begins to change. As her world opens, Junie intuits the opposite for the community she loves.Told through the fascinating lens of a bright woman in an oft-disquieting world, this book is intimate and urgent--not just an unflinching look at the destruction of a vibrant community, but a celebration of the Black lives within.

Visceral and playful, tend reflects the intimate awkwardness of modern life. Hargreaves' latest collection explores feelings of being distanced from loved ones, physically and emotionally; striving to be better (at chores, at intimacy); and tending to the things that fracture.These poems are anchored in the body, straining the edges of spaces that bodies and language inhabit: between sealing in and digging out; restlessness and isolation; memory and planning for the future; gaps in texts and reiterations. tend is an immersive work, as validating as it is illuminating.

In a quaint tourist village, Dorn makes miniature scale models displayed in the local shops. Yet life is far from idyllic; he suffers under the thumb of a rich, philandering younger brother and an unloving father, and cannot find the courage to admit his love to Ravenna, the ungainly schoolteacher.Life takes a strange turn when the government-sponsored "Wild Home Project" is introduced and wolves, rats, minks, otters, and bears move into villagers' homes. Soon, Dorn receives a mysterious commission, finds a body in a park, and has several run-ins with a former classmate-turned police officer. When fire breaks out, Dorn takes on the unlikely role of hero in the hope of changing the course of his life.A realist novel with the air of a fairy tale, The Animals is a surprising, funny, and thought-provoking story that explores the nature of relationships faunal and human, and reminds us of the challenges of finding one's place in society . . . and that living with a wolf is not a very good idea.

Curated by Dionne Brand, this anthology features the work of 18 emerging Toronto talents writing about their city: Diana BiacoraDavid BradfordNicole ChinSimone DaltonDalton DerksonDoyali IslamLaboni IslamIan KamauAdnan KhanShoilee KhanCanisia LubrinSofia MostaghimiNadia RagbarRudrapriya RathoreSanchari SurKatheryn WabegijigPhoebe WangChuqiao Yang

A non-binary faun wishes their body had a variety of sex organs, interchangeable daily. A prison abolitionist scrutinizes Rothko paintings on the carceral state's boardroom walls. The insurrectionary tactics of mass social movements spread, like a secret handshake, from Chile to Hong Kong to Toronto.Shaped by Daniel Sarah Karasik's experience of grassroots social and political advocacy, these poems are an offering to those engaged in struggles for a better world--and an acknowledgement of the sometimes contradictory meanings of those struggles. How do individual erotic desires relate to collective desires for deliverance from alienation and exploitation? How might we dream of a more humane future, and work towards building it, without minimizing the challenges that stand in our way?Plenitude cartwheels towards a world that might be: a world without cops or bosses, without prisons, without oppressive regulation of gender and desire. It is a song for the excluded and forgotten and those who struggle alongside them.

"From internationally celebrated writer and visual artist Shani Mootoo comes Cane / fire, an immersive and vivid collection that marks a long-awaited return to poetry. Akin to a poetic memoir, past and present are in conversation with each other throughout this evocative, sensual collection as the narrator moves from Ireland to San Fernando, and finally to Canada. The reinterpretations and translation of this journey and associated family history give the present meaning. Through these deeply personal poems, and Mootoo's own artwork, we begin to understand how a life can not only be shaped, but even reimagined."--

Poetry. Translation. THE BASHO VARIATIONS gathers thirty-four translations of Basho's famous haiku. In doing so, it enters an august (albeit scanty) lineage of maverick redactions of this poem that include (as inaugural) the 'frog pond plop' by Dom Sylvester Huedard and the 'fog prondl pop' by bp Nichol. Inspired by Raymond Queneau's Exercises in Style, it also joins the company of his earlier 'Restricted Translation with Imperfect Level Shift (After Basho)' as well as the Frogments from the Frag Pool: Haiku after Basho by fellow ludicians de langage Gary Barwin and Derek Beaulieu; Beaulieu's solo ((plop)) and Basho's Frogger (a Zen video game) created by the Prize Budget for Boys.

Poetry. THE APOTHECARY stems from the author's desire to remake the sentence--to let it be capacious, preposterous, convivial, and hang it from a pronoun worn like a phantom limb. Robertson wants that ghostly pronoun to reinvent itself afresh in each sentence. Looking towards the eighteenth century, sometimes through a lens occasionally borrowed from contemporary sources, the text of THE APOTHECARY is precise, intoxicating materia medica dispensed by one of Canada's most important contemporary posts at the beginning of her career with the use of florid instruments.

Acha lives with her mother in Montreal's Centre-Sud neighbourhood. She's only thirteen but claims to be older. She has never known her father, and resents her mother for leaving Hakim, her stepfather. Her only friends are Mel and Jo, two local prostitutes, and Baz, a musician in his twenties, who comes to her rescue one day and with whom she proceeds to fall in love. Her impossible love for Baz, her precociousness and her rebellious streak come together into an explosive cocktail. Raw and heartrending, Worst Case, We Get Married is the statement Acha gives to a social worker.From acclaimed Quebecois writer Sophie Bievenu, and translated by JC Sutcliffe, comes Worst Case, We Get Married, a powerful and moving coming-of-age novel. Originally published in French in 2011 as Et au pire, on se mariera, the novel was adapted into a film by Bienvenu and Lea Pool in 2017. "e;Sophie Bienvenu gets inside the head of a whip-smart, lovesick teenager whose fantasy life bleeds into her reality to chilling effect. Listen to her story and be seduced (and horrified). Worst Case, We Get Married is Quebec lit at its best."e; Neil Smith, author of Boo

Nilling is a sequence of 6 loosely linked prose essays about noise, pornography, the codex, melancholy, Lucretius, folds, cities and related aporias: in short, these are essays on reading. Lisa Robertson applies an acute eye to the subject of reading and writingtwo elemental forces that, she suggests, cannot be separated.For Robertson, a book is an intimacy, and with keen and insightful language, Nilling's essays builds into a lively yet close conversation with Robertson's "e;masters"e;: past writers, philosophers, and idealists who have guided her reading (and writing) practice to this point.If "e;a reader is a beginner,"e; then even regular readers of Robertson's kind of deep thinking will delight in the infinite folding together of conceptsthe codex, pornography, melancholy, citiesthat on their own may seem banal, but in their twisting intertextuality, make for a scintillating study of reading as a deep engagement.

How do our bodies speak for us when words don't suffice? How can we make ourselves understood when what we have to say is inarticulable?In Disquieting, Cynthia Cruz tarries with others who have provided examples of how to "e;turn away,"e; or reject the ideologies of contemporary Neoliberal culture. These essays inhabit connections between silence, refusal, anorexia, mental illness, and Neoliberalism. Cruz also explores the experience of being working-class and poor in contemporary culture, and how those who are silenced often turn to forms of disquietude that value open-endedness, complexity, and difficulty.Disquieting: Essays on Silence draws on philosophy, theory, art, film, and literature to offer alternative ways of being in this world and possibilities for building a new one.

Two sex addicts meet and fall in love. A woman catches her husband cheating on her with their dog and escapes to her sister's horse farm. Four friendsfellow pervsgrow up and drift apart, pining for each other in silence until one of them is murdered.In Jess Taylor's sophomore story collection, contemporary views of female sexuality are subverted, and women are given agency over their desires and bodies. Through these characters, sex is revealed to be many things at once: gross, shameful, exhilarating, hidden or openand always complicated. Reminiscent of the works of Maggie Nelson, Mary Gaitskill and Chris Kraus, the stories in Just Pervs explore the strange oppression and illumination created by desire, the bewilderment of adolescence, and the barriers to intimacy both discovered within and imposed upon ourselves.

Revelator is the opening poem in a major sequence entitled Universe. It's the jumping off point for a work that, were Ron Silliman to live long enough, would take him three centuries to complete. We are hopeful. Universe is a poem of globalization and post-global poetics (an important reason for publishing this key section outside of the USA). At its core, it addresses the problem that there are only two global systems: the biosphere and capital, while every response to these global systems is invariably local. The first appearance of Revelator in a journal won Poetry's Levinson prize, previously given to poets such as Robert Creeley, Theodore Roethke, Geoffrey Hill, John Ashbery, Robert Duncan, Basil Bunting, William Carlos Williams, Dylan Thomas, Hart Crane, Robert Frost, and Wallace Stevens.

A is a work of fiction in which Andre Alexis presents the compelling narrative of Alexander Baddeley, a Toronto book reviewer obsessed with the work of the elusive and mythical poet Avery Andrews. Baddeley is in awe of Andrews's ability as a poet more than anything he wants to understand the inspiration behind his work so much so that, following in the footsteps of countless pilgrims throughout literary history, Baddeley tracks Andrews down thinking that meeting his literary hero will provide some answers. Their meeting results in a meditation and a revelation about the creative act itself that generates more and more questions about what it means to be ';inspired.'

Fiction. Announcing the long-awaited reprint of Steve McCaffery's rare 1984 intervention into fiction (if "fiction" indeed this be). Taking its inspiration from Jeremy Bentham's "Panopticon Papers" McCaffery's PANOPTICON shatters all omnivison in a tour de force of formal innovation, theoretical comment and narrative critique. In PANOPTICON narrative stutters, repeats itself, sequence is deranged and complicated by a multi-media presence on the page of grids, film bands and acoustic channels. On its first appearance Charles Bernstein hailed the book as "as perhaps the exemplary 'antiabsorptive work'" and William McPheron claimed its first appearance as "an extraordinary act of revolution and charity." Out of print for over twenty years, this new edition is enhanced by the availability of a revised audio recording of the book, its three voices, one male, two female teasing out the gender complexities of PANOPTICON. McCaffery has also added an Introduction to the book and has revised the text entirely.

In THOU, Aisha Sasha John knows the day biblically. What if time itself was an object of desire? And the book was a theatre for that? Aisha Sasha John has a crush on time. Which is why she discipled in it. For three years. Also for three months. Also for three months at 33. Ya. Aisha Sasha John has a crush on time and discipled in time, moving it across her body, watching it, um, course the day. She slowed it down and thought along it, she cut it up. She slowed it down and thunk along it and sped it up. She cut it up and spaced it out and rhythmed it down and laid it flat and looked at it hard. Aisha Sasha John has a crush on time. She did it. She did time. It was gross and funny and it was hard and it was good. The result is/was THOU.

In that moment, I felt closer to whiteness than not. I was completely complicit and didn't think twice about entering a space that could cover their walls with images of contemporary Indigenous perspectives, but exclude their physical bodies from entering and experiencing. In that moment, I felt like a real Canadian.Before I Was a Critic I Was a Human Being is the debut collection of nonfiction essays by Amy Fung. In it, Fung takes a closer examination at Canada's mythologies of multiculturalism, settler colonialism, and identity through the lens of a national art critic.Following the tangents of a foreign-born perspective and the complexities and complicities in participating in ongoing acts of colonial violence, the book as a whole takes the form of a very long land acknowledgement. Taken individually, each essay roots itself in the learning and unlearning process of a first generation settler immigrant as she unfurls each region's sense of place and identity

Now I've killed another person. I'm a serial killer. Sure, two people is hardly serial, but it's a good start. I'm still young. Who knows where opportunities might lead me? Opportunity makes the thief, or the murderer, or even the pastry chef. It's well documented.Mama's Boy Behind Bars is the second book in David Goudreault's wildly successful and darkly funny Mama's Boy trilogy. Once again written with gritty humour in the form of a confession, Mama's Boy Behind Bars picks up where the first book in the series left off.Mama's Boy finds himself in jail following a tender and violent search for his long lost mother. In an attempt to survive his incarceration, he sets out to make a name for himself in prison and is desperate to achieve his ambition of joining the ranks of the hardcore criminals. But things get wildly complicated when he falls in love with a prison guard. Can Mama's Boy juggle love and crime?