The result is a poetry that upends the deeply and dangerously assumed concepts of such a culture—that new knowledge is always better knowledge, that history is a steady progress, that humans are in control of the natural order. Nick Lantz’s poems hurtle through time from ancient theories of physics to the CIA training manual for the practice of torture, from the history of the question mark to the would-be masterpieces left incomplete by the deaths of Leonardo da Vinci, Nikolai Gogol, Bruce Lee, and Jimi Hendrix. Selected by Linda Gregerson for the esteemed Bakeless Prize for Poetry, We Don’t Know We Don’t

    But they’re real, they’re honest, and hopefully they’ll make you feel a little less alone." -Ashley Dun

    depicts different love stories from the initial spark to the last heartbreak and writes in verses the heartache we've all been through. A poetry book to make your heart smile and weep at the same time.

    His father prefers the love of horses and good books, while his mother is guided by practicality and her faith. Bev, his rough-edged brother, chooses action over thinking. Among them is the solitary Arthur - intelligent, curious, garrulous, romantic and at odds with his surroundings and his religion. His one ally is his adopted cousin, the fearless Isobel. Their mutual admiration for the land, for literature, all things French and each other sustain Arthur. When Bev goes to fight in Vietnam and returns emotionally broken, relationships within the family change and tensions between the two brothers rise. With a secret between them, Arthur leaves for Paris, where he pursues his passions for writing and women and at last claims the life he has always wanted. But dreams and reality don’t always match, and it takes going away for Arthur to appreciate the push and pull of both home and love.With his trademark elegant prose and incisive characterizations, David Bergen has created a wise and hopeful character, and an emotionally powerful story of being young and finding oneself.

    She leaves the cold shack she shares with her father for the warmth of her kneading table at Cameron's store and gets caught in a snow storm, sparking events that expose the raw humanity of those around her. Loyalty and betrayal, guilt and shame, and faith and doubt collide as the dirty secrets of the bleak coal mining community throw lives into turmoil. A series of brutal attacks, a murder, and an ambitious sergeant intent on seeing someone hang, reveal a town, oppressed as much by its dreary prospects, as it is by its institutionalized corruption, sexism and racism.Mabel just wants to bake bread, but she has her own secrets to protect.The Bread Maker is a rich, beautifully told narrative that seamlessly weaves humour and tragedy into a touching story about life, love and the potential of the human spirit to overcome great odds....

    Don Marquis' creations have been constantly in print since 1934.

    The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”

    Sophia Elaine Hanson is the author of the critically acclaimed chapbook hummingbird as well as the #1 bestselling young adult series the Vinyl Trilogy. She resides in New York City and loves pigeons and Star Wars.

    In lushly evocative language, Smart recounts her love affair with the poet George Barker with an operatic grandeur that takes in the tragedy of her passion; the suffering of Barker's wife;the children the lovers conceived. Accompanied in this edition by The Assumption of the Rogues and Rascals, a short novel that may be read as its sequel, By Grand Central Station I Sat Down and Wept has been hailed by critics worldwide as a work of sheer genius.

    Here love is defined as a force of reclamation and repair in times of trauma, and trauma is understood to exist within all times. The poems are grounded in what feels like an eternal present, documenting moments of clarity that lift the speaker (and reader) out of the illusion of linear experience. This is what we mean when we describe a work of art as being timeless.Like the river they speak to, these poems return again and again to the same source in search of new ways to reconstruct what has been lost. Vermette suggests that it’s through language and the body ― particularly through language as it lives inside the body ― that a fragmented self might resurface as once again whole. This idea of breaking apart and coming back together is woven throughout the collection as the speaker contemplates the ongoing negotiation between the city, the land, and the water, and as she finds herself falling into trust with the ones she loves.Vermette honours the river as a woman ― her destructive power and beauty, her endurance, and her stories. These poems sing from a place where “words / transcend ceremony / into everyday” and “nothing / is inanimate.”

    Shifting from memoir to fiction, it focuses on the commonplace experiences underlying our lives that are the true basis for storytelling. At the book’s core is Isabel Huggan’s old house in rural France, from where she contemplates the real meaning of “home,” and the mysterious manner in which memory gives substance to ordinary things around us. With a light touch, she brings to life the people she has met in her travels from whom valuable lessons have been learned.Isabel Huggan writes with the candour and compassion that made her earlier books so well loved, and here she speaks even more clearly from the heart. Belonging is an intimate conversation between the narrator who needs to examine her life because it has not turned out as she expected, and her readers, who will find their own concerns illuminated in surprising ways. Slowly, a pattern emerges as certain motifs become apparent: happiness, friendship, landscape, language, heartache. As the book draws to a close, readers will understand the fictional character who says, “There is nothing in our lives that doesn’t fit.”

    Cole's most recent poems have a daring sensitivity and imagistic beauty unlike anything on the American scene today. Whether they are exploring pleasure or pain, humor or sorrow, triumph or fear, they reach for an almost shocking intensity. Cole's fourth book, Middle Earth, awakened his audience to him as a poet now writing the poems of his career. Pierce the Skin brings together sixty-six poems from the past twenty-five years, including work from Cole's early, closely observed, virtuosic books, long out of print, as well as his important more recent books, The Visible Man (1998), Middle Earth (2003), and Blackbird and Wolf (2007). The result is a collection reconsecrating Cole's central themes: the desire for connection, the contingencies of selfhood and human love, the dissolution of the body, the sublime renewal found in nature, and the distance of language from experience. "I don't want words to sever me from reality," Cole says, striving in Pierce the Skin to break the barrier even between word and skin. Maureen N. McLane wrote in The New York Times Book Review that Cole is a poet of "self-overcoming, lusting, loathing and beautiful force." This book will have a permanent place with other essential poems of our moment.

    Technically brilliant, using strict, classical prosody, yet entirely modern in sensibility, Virginia Adair's poetry will play a central role in the ongoing American poetry renaissance.

    Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page.The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene.Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

    The banal finality of this event triggers an introspective voyage through the events of her life and how she became who she is: wife of business executive Rick, citizen of the suburb of Rowanwood, mother to two accomplished daughters in university. Before Betty Friedan coined the term feminine mystique, The Torontonians told a classic feminist story of suburban ennui and existential self-discovery, tracing a detailed portrait of femininity in the 1950s through the eyes of its perceptive and thoughtful heroine. The book is also a unique contemporary meditation on community and social ties from a time when Canada's major cities were just beginning to spread out into suburban sprawl.