In this beautifully told novel that crosses borders, cultures, and generations, a young man returns home to care for his aging mother, who suffers from dementia. In his efforts to help her and by turn make amends for their past estrangement from one another, he is compelled to re-imagine his mother’s stories for her before they slip completely into darkness. In delicate, heartbreaking tones, the names for everyday things fade while at the same time a beautiful, haunted life, stained by grief, is slowly revealed.

    Before all the NHL's old barns were torn down to make way for bigger, glitzier rinks. Before expansion and parity across the league, just about anything could happen on the ice. And it often did. It was an era when huge personalities dominated the sport; and willpower was often enough to win games. And in the spring of 1993, some of the biggest talents and biggest personalities were on a collision course. The Cinderella Maple Leafs had somehow beaten the mighty Red Wings and then, just as improbably, the St. Louis Blues. Wayne Gretzky's Kings had just torn through the Flames and the Canucks. When they faced each other in the conference final, the result would be a series that fans still talk about passionately 25 years later. Taking us back to that feverish spring, The Last Good Year gives an intimate account not just of an era-defining seven games, but of what the series meant to the men who were changed by it: Marty McSorley, the tough guy who took his whole team on his shoulders; Doug Gilmour, the emerging superstar; celebrity owner Bruce McNall; Bill Berg, who went from unknown to famous when the Leafs claimed him on waivers; Kelly Hrudey, the Kings' goalie who would go on to become a Hockey Night in Canada broadcaster; Kerry Fraser, who would become the game's most infamous referee; and two very different captains, Toronto's bull in a china shop, Wendel Clark, and the immortal Wayne Gretzky. Fast-paced, authoritative, and galvanized by the same love of the game that made the series so unforgettable, The Last Good Year is a glorious testament to a moment hockey fans will never forget.

    Finding tradition in league with self-delusion, he attempts to shatter the ghetto’s illusory walls by entering the foreign territory of the goyim. But here, freedom and self-determination continue to elude him. Eventually, Noah comes to recognize “justice and safety and a kind of felicity” in a world he cannot – entirely – leave behind. Richler’s superb account of Noah’s struggle to scale the walls of the ghetto overflows with rich comic satire. Son of a Smaller Hero is a compassionate, penetrating account of the nature of belonging, told with the savage realism for which Mordecai Richler’s fiction is celebrated.

    The lights on the street and in the houses against the black wetness, little unilluminating glints that might be painted on it. The town seems huddled together, cowering on a high tiny perch, afraid to move lest it topple into the wind.”The town is Horizon, the setting of Sinclair Ross’ brilliant classic study of life in the Depression era. Hailed by critics as one of Canada’s great novels, As For Me and My House takes the form of a journal. The unnamed diarist, one of the most complex and arresting characters in contemporary fiction, explores the bittersweet nature of human relationships, of the unspoken bonds that tie people together, and the undercurrents of feeling that often tear them apart. Her chronicle creates an intense atmosphere, rich with observed detail and natural imagery.As For Me and My House is a landmark work. It is essential reading for anyone who seeks to understand the scope and power of the Canadian novel.

    Includes "The Spell of the Yukon," "The Heart of the Sourdough," "While the Bannock Bakes," and "The Squaw Man."

    Cast of two men.

    (It was John Findura in Verse Magazine.) She's also been compared to comedian Sarah Silverman, artist Jeff Koons, a 10-year-old who can't keep her mouth shut, and cartoonist R. Crumb. None of these equations is quite right, however. Jennifer L. Knox's work is unmistakably her own: darkly hilarious, surprisingly empathetic, utterly original. DRUNK BY NOON is the eagerly awaited sequel to Knox's first book, A GRINGO LIKE ME, which is also available from Bloof in a new edition. Jennifer L. Knox is a three-time contributor to the Best American Poetry Series and her poems have also appeared in Great American Prose Poems and Great American Erotic Poems. For more information, see www.jenniferlknox.com.

    Henriksen opens ORDINARY SUN by insisting that "an eye is not enough." Resisting solipsism, these poems negotiate that conflict between the mind and what exists outside the mind. Though pain intrinsically resides in that conflict Henriksen strives for an honest happiness, a kind of gorgeous suffering that blesses our days. To this end, these poems emerge from images of all those innumerable things that embody both visceral and ethereal beauty rocks, trees, broken glass, baseball, angels.... Here we find immediacy immersed in the image, and in the reading of these poems becomes ourselves immersed in the immediate."

    Thanks. is an innovative book based on the recorded improvised poetic collaborations between two award-winning poets, Joshua Beckman and Matthew Rohrer. Nice Hat. Thanks. is a collection of transcriptions of these collaborations, with poems ranging from a few words to several pages.

    Whether illuminating a common laborer or a legendary thinker, Dubie meets his subjects with utter compassion for their humanity and the dignity behind their creative work. In pursuit of the well-told story, his love of history is ever-present—though often he recreates his own.“With its restoration of so many out-of-print poems and its addition of new works, The Mercy Seat was one of last year’s most significant publications.” —American Book Review“The voices of Dubie’s monologues are full of astonishing intimacy.” —The Washington Post Book World

    Both personal and philosophical, her work can be read as a spirit-guide for those mourning the loss of a loved one and as a series of fundamental ponderings on the inevitability of death and separation. At first refusing to let go, desperate to feel the presence of her friend, the poet seeks solace in a belief in the spirit world. But life, not death, becomes the issue when she begins to see physical existence as "an interruption" that preoccupies us with shapes and borders. "Shape makes life too small," she realizes. Comfort at last comes in the idea of "reverse seeing": that even if she cannot see forward into the spirit world, her friend can see "backward into this world" and be with her.Death Tractates is the companion volume to a philosophical poetic work entitles Bright Existence, which Hillman was in the midst of writing when her friend died. Published by Wesleyan University Press in 1993, it shares many of the same Gnostic themes and sources.

    

    These poems tell the story of a life at risk of spilling over the edge of the page, from Seuss’s working-class childhood in rural Michigan to the dangerous allures of New York City and back again. With sheer virtuosity, Seuss moves nimbly across thought and time, poetry and punk, AIDS and addiction, Christ and motherhood, showing us what we can do, what we can do without, and what we offer to one another when we have nothing left to spare. Like a series of cels on a filmstrip, frank: sonnets captures the magnitude of a life lived honestly, a restless search for some kind of “beauty or relief.” Seuss is at the height of her powers, devastatingly astute, austere, and—in a word—frank.

    Polyvocal poems, arias, and redacted text speak for the unheard. Philip Metres exposes our common humanity while investigating the dehumanizing perils of war and its lasting effect on our culture.From "Hung Lyres":@When the bombs fell, she could barely raiseher pendulous head, wept shrapneluntil her mother capped the firewith her breast. She teeteredon the highwire of herself. Shelay down & the armies retreated, nevershowing their backs. When she unlatchedfrom the breast, the planes took off again.Stubborn stars refused to fall . . . Philip Metres has written a number of books and chapbooks, most recently A Concordance of Leaves (Diode, 2013), abu ghraib arias (Flying Guillotine, 2011), To See the Earth (Cleveland State, 2008), and Behind the Lines: War Resistance Poetry on the American Homefront Since 1941 (University of Iowa, 2007). His work has appeared widely, including in Best American Poetry, and has garnered two NEA fellowships, the Thomas J. Watson Fellowship, four Ohio Arts Council Grants, the Anne Halley Prize, the Arab American Book Award, and the Cleveland Arts Prize. He teaches at John Carroll University in Cleveland, Ohio.