Bøger udgivet af Nightwood Editions

"WARNING: Cruise Missile Liberals does not contain proper poems--that is, poems with proper politics, proper tightness, proper attention to sound and shape; poems that are meek in the all the right ways, culturally and aesthetically; poems that make musical brocades that are equal parts pedantic and overwrought. Instead, this debut poetry collection reeks of explosive contradiction. Incorporating invented lyrical content and found material, it presents the reader with pleasurable collisions and oppositions. It is of the here and now: digital, online, urban, urbane and ironic. These are poems of play, rant, irreverence and humour, a mash-up of ordinary lyrical anxiety with ambitious injections of the experimental--filled with cheek that, every once in a while, turns to a punch to the gut. Cruise Missile Liberals is a rip-roaring debut from an author who is leaving a mark on Canadian Literature. "Spencer Gordon's Cruise Missile Liberals is, as its title suggests, a very funny, often despairing book. Jammed with on-point pop and breathtaking turns of phrase, this collection of poems is genuinely compelling: it is hard to stop reading, so sweetly twisted is Gordon's world."--Lynn Crosbie"--

If I Were In A Cage I'd Reach Out For You is a collection that travels through both time and place, liminally occupying the chasm between Canadiana and Americana mythologies. These poems dwell in surreal pockets of the everyday warped landscapes of modern cities and flood into the murky basin of the intimate. Amidst the comings and goings, there's a sincere desire to connect to others, an essential need to reach out, to redraft the narratives that make kinship radical and near. These poems are love letters to the uncomfortable, the unfathomable, and the altered geographies that define our own misshapen understandings of the world.

Witness, I Am is divided into three gripping sections of new poetry from one of Canada's most recognized poets. The first part of the book, "Dangerous Sound," contains contemporary themed poems about identity and belonging, undone and rendered into modern sound poetry. "Muskrat Woman," the middle part of the book, is a breathtaking epic poem that considers the issue of missing and murdered indigenous women through the reimagining and retelling of a sacred Cree creation story. The final section of the book, "Ghost Dance," raids the autobiographical so often found in Scofield's poetry, weaving the personal and universal into a tapestry of sharp poetic luminosity. From "Killer," Scofield eerily slices the dreadful in with the exquisite: "I could, this day of proficient blooms, / take your fingers, / tie them down one by one. This one for the runaway, / this one for the joker, / this one for the sass-talker, / this one for the judge, / this one for the jury. / Oh, I could kill you."

"The Clothesline Swing is a journey through the troublesome aftermath of the Arab Spring. A former Syrian refugee himself, Ramadan unveils an enthralling tale of courage that weaves through the mountains of Syria, the valleys of Lebanon, the encircling seas of Turkey, the heat of Egypt and finally, the hope of a new home in Canada. Inspired by Arabian Tales of One Thousand and One Nights, The Clothesline Swing tells the epic story of two lovers anchored to the memory of a dying Syria. One is a Hakawati, a storyteller, keeping life in forward motion by relaying remembered fables to his dying partner. Each night he weaves stories of his childhood in Damascus, of the cruelty he has endured for his sexuality, of leaving home, of war, of his fated meeting with his lover. Meanwhile Death himself, in his dark cloak, shares the house with the two men, eavesdropping on their secrets as he awaits their final undoing."--

"Michelle Elrick's then/again is a poetic account of finding home, and the meanings and moments that the concept of home can come to embody. The collection tracks the poet through a landscape of intimate places-an ancestral home in Scotland, a mother's birthplace in Salzburg, a childhood home on the West Coast-as well as the memory-warped terrain of the poet's past houses. In brief poetic capsules that combine to form long, lyrical narratives, Elrick enfolds layers of tactile and remembered experience, offering continual moments of surprise. In the observer's eye, the double act of perceiving and writing lends transformative and mythic properties to the everyday: "a heron drums a pattern of shadows on the surface of the sea, wings tick with quartz regularity. bay clouds spot red, bulbs of peach bloom, smoulder and die down into blue." The collection is infused by a sense of nostalgia and longing within the present moment, illustrating the elusiveness of home even while it is being lived: "I watch as the day opens, expanding its geometry. diffuse light penetrates the blind. hot sun yellows cold concrete (caress stretching across the courtyard)." Each quiet moment of reflection builds upon the others to produce a sense of place that is as immediate and fleeting as home itself. Elrick has an uncanny sense for capturing and illuminating those moments that will later glow in memory."--

A brief and highly personal memoir that probes the unique and sometimes unsettling tenor of life on one of BCs smallest gulf islands. The measure of ones success here, the author discovers, doesnt rely on status or income, but on the ability to adapt both the rigorous outdoors of the Pacific Northwest and equally challenging human community of need, trade, and negotiated civility. These are stories of the people and families who sought refuge here, for different reasons and with different outcomes: a multi-talented retired sea captain who cant do enough for people and who just happens to be a cross-dresser; a city contractor whose idea of relaxing in the country is to spend his time running noisy power tools; a septuagenarian library curator who has happily re-discovered men and Scotch; and of various other transplants making their way through the tricky terrain of island living.

From the monk who sets himself on fire in a crowded intersection of Saigon (the familiar corded tendons of his hands, become / a bracken of ashes, a carbon twine of burnt), to the salmon run in British Columbia (The salmon word / for home is glacierdust and once-tall trees unlimbed, / a taste, no matter where, they know), Johnson writes of topics varied and eclectic, unified by a focus on moments both declining and revenant.

Wigford is a small town in rural Southwestern Ontario, home to a cast of recurring characters: Buzz, a drunk-driving father of two; his wife, who should have married Bert Walmsley instead; Happy Henry, a devout, socially inept apostle who loves to play the organ; Elmer, a stroke survivor. Wigford Rememberies tells this community's stories through an impressionistic series of vignettes. The language is inventive, innovative and exciting, and whether describing mucking out the pig barn -- "there in the dust and the sweet smells of grain and straw and the heavy brown odour of shit so strong it makes you sneeze" -- or helping a drunk articulate how to manipulate God's forgiveness -- "'if I gave my heart to Jesus -- right there on my deathbed the minute before I died -- he'd forgive everything an I'd go up into Heaven and be saved just as much as the other guy who never did nothin' wrong at all with no difference?'" -- Harness wields words with an eye for detail, musicality and style. Visceral, reflective and lyrical, Wigford Rememberies is a poetic evocation of mood and epiphanic realisations, and will resonate with anyone who has ever confronted suffering, love or the unknowable.

Sheryda Warreners second poetry collection touches on the illusion of remaining grounded and a sense of belonging. A retired cosmonaut returns from a record-breaking 438 days in space and attempts to re-immerse himself in the world. One speaker considers reinvention from the top floor of the Worlds Tallest building; another, our complicated future from Reykjavik, post-eruption of Eyjafjallajkull. Confessions and aspirations suspend in air. Ghosts float in and out; inheritance and connection are called into question. Morrissey, Cindy Sherman,

The power of water is the power of blood, flood and drought. Water keeps it real, keeps us real. Forgetting this, we turn the earth into a toxic dump. Remembering this, we unfurl the future as perpetual possibility.

"One of the most important voices in Canadian literature today."--Richard Van Camp

"We do not own the water. The water owns itself."-- Lee Maracle

In her lyrical memoir The Death of Small Creatures, Trisha Cull lays bare her struggles with bulimia, bipolar disorder and substance abuse.

Later we will laugh; shake moonlightoff our clothes like ash. For now we stare at the clock. Theday wears, tired as mechanism.

Drawn from nine collections published over thirty years, the forty-one poems in this retrospective reveal the poetic accomplishments of John Barton. In this collection, Barton explores the role of love in contemporary society, the complexity of gay experience, the persistence of homophobia, the reinvention of the idea of family, and the fear and courage that AIDS engendered and how it continues to shape the search and attainment of intimacy.