The result is a lyrical and piercingly insightful collection of essays, letters (to her grandmother, to the basketball star Michael Jordan, to Death), and her own brand of essay-meets-prose poetry about identity and culture. Inspired by Maggie Nelson’s Bluets, Lydia Davis’s short prose, and Vivian Gornick’s exploration of interior life, Chew-Bose captures the inner restlessness that keeps her always on the brink of creative expression.Too Much and Not the Mood is a beautiful and surprising exploration of what it means to be a first-generation, creative young woman working today.

    Across the book’s three sequences, we find the black-girl speaker in the midst of a self-imposed exile, going back in memory to explore her younger self—a mixed-race child being raised by her white supremacist grandfather in the shadow of Churchill Downs, Kentucky’s world-famous horseracing track—before arriving in a state of self-awareness to confront the personal and political landscape of a harshly segregated Louisville. Out of a space that is at once southern and urban, violent and beautiful, racially-charged and working-class, she attempts to transcend her social and economic circumstances. Across the collection, Priest writes a horse that acts as a metaphysical engine of flight, showing us how to throw off the harness and sustain wildness. Unlike the traditional Bildungsroman, Priest presents a non-linear narrative in which the speaker lacks the freedom to come of age naively in the urban South, and must instead, from the beginning, possess the wisdom of “the horses & their restless minds.”    FROM "RODEO"   The four-wheeler is a chariot. Horse-wraiths Kicking up a plume of spirits in the dirt behind us. Her arms kudzu around my middle. Out here,   In the desert, everything is invisible. Only the locusts’ flat buzz gives Them away. Everything native & quieting   Perennial & nighthawk black As we ride through: the cowgirls, The witch & the water sky-mirror-split,   The severity of squall lines. Also, the lips Parting air like lightning & the girl Blowing bubbles—in each one                                                 a rainbow.

    Does it move us with its beauty? Can we make a living from it? But what if we examined a landscape on its own terms, freed from our expectations and assumptions?This is what celebrated writer Helen Humphreys sets out to do in this stunning, groundbreaking examination of place. For more than a decade Humphreys has owned a small waterside property on a section of the Napanee River in Ontario. In the watchful way of writers, she has studied her little piece of the river through the seasons and the years, cataloguing its ebb and flows, the plants and creatures that live in and round it, the signs of human usage at its banks and on its bottom.The River is the result, a gorgeous and moving meditation that uses fiction, non-fiction, natural history, archival maps and images, and stunning full-color photographs to get at the truth. In doing this, Humphreys has created a work of startling originality that is sure to become a new Canadian classic.

    Beginning with a painting done in 2003, the poems move backwards in time to 1 BC, where an architectural fragment is painted on an architectural fragment, highlighting visual art’s strange relationship between the image and the thing itself. The total effect is exhilarating—a wholly original, personal take on art history coupled with Bang’s sly and elegant commentary on poetry’s enduring subjects: Love, Death, Time and Desire. The recipient of numerous prizes and awards, Bang stands at the front of American poetry with this new work, asking more of the English language, and enticing and challenging the reader.

    Political and iconoclastic, Anne Boyer’s poems dally in pastoral camp and a dizzying, delightful array of sights and sounds born from the dust of the Kansas plains where dinner for two is cooked in Fire King and served on depression ware, and where bawdy instructions for a modern “Home on the Range” read:Mix a drink of stock lot:vermouth and the water table.And the bar will smell of IBP.And you will lick my Laura Ingalls.In Boyer’s heartland, “Surfaces should be worn. Lamps should smolder. / Dahlias do bloom like tumors. The birds do rise like bombs.” And the once bright and now crumbling populism of Marxists, poets, and folksingers springs vividly back to life as realism, idealism, and nostalgia do battle amongst the silos and ditchweed.Nothing, too, is a subject:dusk regulating the blankery.Fill in the nightish sky with ardent,fill in the metaphorical smell.A poet and visual artist, Anne Boyer lives in Kansas, where she co-edits the poetry journal Abraham Lincoln and teaches at Kansas City Art Institute.

    From the online hookup world of DMs, double taps, and secret texts to earth-shakingly erotic encounters under the northern stars to the ever-complicated relationship Indigenous women have with mainstream society, this poetry collection doesn't shy away from depicting the gorgeous diversity in decolonized desire. Instead, Campbell creates the most intimate of spaces, where the tea is hot and a seat is waiting, surrounded by the tantalizing laughter of aunties telling stories.These wise, jubilant poems chronicle many failed attempts at romance, with the wry humour needed to not take these heartbreaks personally, and the growth that comes from sitting in the silence of living a solo life in a world that insists everyone should be partnered up. With a knowing smile, this book side-eyes the political existence and celebrates the lived experience of an Indigenous woman falling in love and lust with those around her--but, most importantly, with herself.nedí nezų is a smart, sensual, and scandalous collection dripping in Indigenous culture yet irresistible to anyone in thrall to the magnificent disaster that is dating, sex, and relationships.

    But when Cameron finds a patient hanged in the utilities closet, his infatuation with other people's stories becomes an obsession. Assuming the man's identity, Cameron seeks out and forges a relationship with the victim's mentally challenged sister, who lives in a home uptown. As Cameron becomes more involved in the woman's life, he begins to discover truths that will challenge him to the very core of his existence.

    At the centre of the novel is Lena, a troubled girl who has " chosen" Mason and will teach him something of desire and despair. Impulsive, provocative, vulnerable, and sad, Lena becomes haunting for Mason in ways he does not always understand. We meet Mason's first " love, " an older girl destined for an arranged marriage; his mother, who takes a lover; and a wise and erudite blind man with a voyeuristic streak, to whom Mason reads. Playful, and with deadpan humour, the novel brilliantly captures the yearnings of youth, as well as the tantalizing possibilities and the confounding absurdities that sometimes lie at the heart of our most intimate relationships.

    The feature film was released in the U.S. by Quentin Tarantino.

    These poems are loose enough for the reader to flop down inside and stay awhile. They are plangent, personal, confessional, noisy, nostalgic, and maybe a little bit broken. They often contain boats and travel and Toronto (street names and railroad tracks, dives and parks and kitchens) because those are the sorts of things Eva H.D. is drawn to. In Rotten Perfect Mouth, readers will discover a writer with her heart on her sleeve and her hand on her pen, capturing the world around her with vibrant immediacy.

    But as she grows older, she learns that many people in her small, rural town believe her father is Cecil Jesso, the local drug dealer--a man both feared and ridiculed. Weaving through a maze of gossip, community, and the complications of family, Some People's Children is a revealing and liberating novel about the way others look at us and the power of self-discovery.

    She's forever on the move, ricocheting around Alberta, guided less than capably by her dysfunctional mother Elizabeth."The Shore Girl" follows Rebee from her toddler to her teen years as she grapples with her mother's fears and addictions, and her own desire for a normal life. Through a series of narrators--family, friends, teachers, strangers, and Rebee herself--her family's dark past, and the core of her mother's despair, are slowly revealed.

    In 2006, she had just signed her first record deal and, after placing as first runner-up for Miss World, was a sought-after fashion model and icon within the Iranian dissident community. But one afternoon, she received an email that would change the course of her life. The subject of that email—a Kurdish girl named Nazanin Fatehi—was facing execution in Iran, as punishment for stabbing a man who had tried to rape her. Afshin-Jam quickly came to Fatehi's defence, striding into the world of international diplomacy and confronting the dark side of the country of her birth, with its honour killings, violence against women and state-sanctioned executions of children. While Fatehi languished in prison, experiencing conditions so deplorable she attempted to end her own life, Afshin-Jam worked desperately on the campaign to save her. The Tale of Two Nazanins weaves together the lives of two women—one leading a life of opportunity, the other living in abject poverty—and a fight for justice that, if only for a moment, brought the Iranian regime to its knees. An inspiring story about the bonds of sisterhood, this extraordinary book speaks to the power of every individual to foster positive change in the world.

     Juiced on the ecstasy of self-belief: I have to live. A burgeoning erotics of psychic boldness: I have to live. In which sensitivity is recognized as wealth: I have to live. Trumpeting the forensic authority of the heart: I have to live. This is original ancient poetry. It fashions a universe from its mouth.

    Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post traumatic stress disorder and bipolar II disorder; Terese Marie Mailhot is given a notebook and begins to write her way out of trauma. The triumphant result is Heart Berries, a memorial for Mailhot's mother, a social worker and activist who had a thing for prisoners; a story of reconciliation with her father―an abusive drunk and a brilliant artist―who was murdered under mysterious circumstances; and an elegy on how difficult it is to love someone while dragging the long shadows of shame.Mailhot trusts the reader to understand that memory isn't exact, but melded to imagination, pain, and what we can bring ourselves to accept. Her unique and at times unsettling voice graphically illustrates her mental state. As she writes, she discovers her own true voice, seizes control of her story, and, in so doing, reestablishes her connection to her family, to her people, and to her place in the world.