Poulin, Jr., Poetry Prize. In his foreword he writes, "I was immediately struck by the boldness of imagination, the strange cadences, and wild music of these poems. We should be glad that young poets like Keetje Kuipers are making their voices heard not by tearing up the old language but by making the old language new."Keetje Kuipers, a native of the Northwest, earned her BA at Swarthmore College and MFA at the University of Oregon. A Stegner Fellow at Stanford University, she divides her time between Stanford and Missoula, Montana.From Devils Lake Journal:“Keetje Kuipers’ Beautiful in the Mouth is at once lovely, frank, and haunting. The poems move easily between landscapes, inhabiting the American west, Paris, and New York City with equal ease and yet, they never exploit sympathies of locale for their power. Instead, they rely on nothing but the speaker’s own candor, who is able to speak through such disparate poems as “Bondage Play as Substitue for Prayer” alongside “Waltz of the Midnight Miscarriage,” “Reading Sappho in a Wine Bar,” and “Barn Elegy” with a good spattering of honest-to-goodness sonnets.”From ForeWord Reviews:“The poems move like ghosts themselves: disappearing into walls, circling back, appearing for a moment to be captured, then evaporating into thin air. Kuipers pins moments onto the page with the care of an etymologist collecting rare specimens. Her poems are at once visceral and cosmic, “a wave as well as a particle.””

    In the sterile dormitories and on the quiet winter greens of an American university, a young woman named M— deals with the repercussions of a strange encounter with an angel, one that has left a large bruise on her forehead. Was the event real or imagined? The bruise does not disappear, forcing M— to confront her own existential fears and her wavering desire to tell the story of her imagination. As a writer, M— is breathless, desperate, and obsessive, questioning the mutations and directions of her words while writing with fevered immediacy. Using rhythmic language, suffused with allusions to literature and art, Magdalena Zurawski recasts the bildungsroman as a vibrant and moving form.

    This landmark work of scholarship offers an enlightening review of the shifting concept of "lesbian literature," followed by examples of six different genres: Romantic Friendship, Sexual Inversion, Exotic and Evil Lesbians, Lesbian Encoding, Lesbian Feminism, and Post-Lesbian Feminism.Faderman examines works as diverse as Willa Cather's My Antonia and Virginia Woolf's Orlando; poetry by Gertrude Stein and Amy Lowell; fiction by Carson McCullers, Helen Hull, and Alice Walker. In addition, Chloe Plus Olivia contains writing by men who focused on women's relationships. These writings are included in the early section of the book and were, in various ways, important to the development of lesbian literature, since men were far more likely than women to achieve publication in other centuries.It would be impossible to identify a single "great tradition" of lesbian writing, since it is in constant metamorphosis, reflecting changing social attitudes and women's voices. Chloe Plus Olivia, with its historical scope enhanced by Faderman's own personal search for a definition of lesbian literature, makes this the first book of its kind; it is certain to become the point of reference from which all subsequent studies of lesbian literature will begin.

    The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension—state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument."Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.

    A friendship on the rocks. A heartfelt decision that has to be made. Successful film director, Hannah Richards, could never have imagined that in an blink of an eye the love of her life would be gone forever. Nor would she have ever envisaged that her late partner's best friend—the acclaimed actress Alisa Forbes, would be the one to help her pick up the pieces.

    The poems in Admission Requirements attempt to discover what is required of us when we cut across our material and psychic geographies. Simultaneously full and empty of its origins, the self is continually taxed of any certainties and ways of being. The speaker in these poems is engaged in a kind of fieldwork, surveying gardens, communities, and the haphazard cityscape, where the reader is presented with the paradoxes of subsumed histories. With understated irony and unsettling imagery, the poems address the internal conflicts inherent in contemporary living.

    They speak in the shorthand they have invented, complete one another’s sentences, and help each other through every daily and existential dilemma. When Chris tells Kathryn about his feelings for Emily, a vivacious young woman he sees often at the Laundromat, Kathryn encourages her boyfriend to pursue this other woman—certain that her bond with Chris is strong enough to weather a little side dalliance.As Kathryn and Chris stumble into polyamory, Next Year, For Sure tracks the tumultuous, revelatory, and often very funny year that follows. When Chris’s romance with Emily grows beyond what anyone anticipated, both Chris and Kathryn are invited into Emily’s communal home, where Kathryn will discover new romantic possibilities of her own. In the confusions, passions, and upheavals of their new lives, both Kathryn and Chris will be forced to reconsider their past and what they thought they knew about love.Offering a luminous portrait of a relationship from two perspectives, Zoey L. Paterson has written an empathic, beautiful, and tremendously honest novel about a great love pushed to the edge. Deeply poignant and hugely entertaining, Next Year, For Sure shows us what lies at the mysterious heart of relationships, and what true openness and transformation require.

     Though Canada is at the top of international rankings of democracies, Canadians themselves increasingly don’t see politics as a way to solve society’s problems. Small wonder. In the news, they see grandstanding in the House of Commons and MPs pursuing agendas that don’t always make sense to the people who elected them.  But elected officials make critical choices about how this wildly diverse country functions today and how it will thrive in the future. They direct billions of dollars in public funding and craft the laws that have allowed Canada to lead the way internationally. Even with so much at stake, citizens—voters—are turning away. How did one of the world’s most functional democracies go so very wrong?  In Tragedy in the Commons, MPs describe arriving at their political careers almost by accident; few say they aspired to be in politics before it “happened” to them. In addition, almost without fail, each MP describes the tremendous influence of their political party: from the manipulation of the nomination process to enforced voting in the House and in committees, the unseen hand of the party dominates every aspect of the MP’s existence.  Loat and MacMillan ask: Just what do we want Members of Parliament to be doing? To whom are they accountable? And should parties be trusted with the enormous power they wield with such little oversight or citizen involvement?  With unprecedented access to the perspective and experience of Canada’s public leaders, Tragedy in the Commons concludes by offering solutions for improving the way politics works in Canada, and how all Canadians can reinvigorate a democracy that has lost its way, its purpose and the support of the public it is meant to serve.

    Teek wonders, “Can butches even get pregnant?”Of course, as she and her pragmatic femme girlfriend Vee discover, they can. But what happens when they do? Written and illustrated by A.K. Summers, and based on her own pregnancy, Pregnant Butch strives to depict this increasingly common, but still underrepresented experience of queer pregnancy with humor and complexity—from the question of whether suspenders count as legitimate maternity wear to the strains created by different views of pregnancy within a couple and finally to a culturally critical and compassionate interrogation of gender in pregnancy. Offering smart, ambitious art, this graphic memoir is a must-read for would-be pregnant butches and anyone interested in the intersection of birth and gender, as well as a perfect queer baby shower gift and conversation starter for those who always assumed they “got” being pregnant.

    She holds up the Indigenous trans body as a site of struggle, liberation, and beauty. A confessional poet, Benaway narrates her sexual and romantic intimacies with partners as well as her work to navigate the daily burden of transphobia and violence. She examines the intersections of Indigenous and trans experience through autobiographical poems and continues to speak to the legacy of abuse, violence, and colonial erasure that defines Canada. Her sparse lines, interwoven with English and Anishinaabemowin (Ojibwe), illustrate the wonder and power of Indigenous trans womanhood in motion. Holy Wild is not an easy book, as Benaway refuses to give any simple answers, but it is a profoundly vibrant and beautiful work filled with a transcendent grace.Praise for Holy Wild:"This is a heart wrenching, thought provoking, honest, and graceful walkthrough of trans realities both on the homeland and in urban settings." —Joshua Whitehead, author of Jonny Appleseed, longlisted for the Scotiabank Giller Prize, and Full-Metal Indigiqueer"As the poet says, "they want one thing and I am many." This book is many things, and we are grateful." —Katherena Vermette, author of the award-winning novel The Break"Benaway conjures trans life in a place that is both prior to and in excess of the violence that mires it. It is the emotional infrastructure for something like freedom. Let Benaway lead you there." —Billy-Ray Belcourt, author of This Wound is a World

    From a history of anti-Asian racism to a deconstruction of the city's urban sprawl; from an examination of local food trends to a survey of the city's politically radical past, Vancouver Special is a love letter to the city, taking a no-holds-barred look at Lotusland with verve, wit, and insight.

    When it is leaked that Rosie is one of only two women to become pregnant from the treatment, her relationship with Jules is put under a microscope. Who close to them leaked the news?

    Working from home in the close quarters of their Florida house, she lives with one wary eye peeled on Samson, a sullen, unknowable boy who resists her every attempt to bond with him. Uncertain in her own feelings about motherhood, she tries her best--driving, cleaning, cooking, prodding him to finish projects for school--while growing increasingly resentful of Monika, her confident but absent wife. As Samson grows from feral toddler to surly teenager, Sammie's life begins to deteriorate into a mess of unruly behavior, and her struggle to create a picture-perfect queer family unravels. When her son's hostility finally spills over into physical aggression, Sammie must confront her role in the mess--and the possibility that it will never be clean again.Blending the warmth and wit of Arnett's breakout hit, Mostly Dead Things, with a candid take on queer family dynamics, With Teeth is a thought-provoking portrait of the delicate fabric of family--and the many ways it can be torn apart.

    Barbeau, in keeping with the popular thinking of the time, believed First Nations cultures were about to disappear completely, and that it was up to him to preserve what was left of these dying cultures while he could. Unfortunately, his methods of preserving First Nations cultures included purchasing totem poles and potlatch items from struggling communities in order to sell them to museums. While Barbeau strove to protect First Nations cultures from vanishing, he ended up playing an active role in dismantling the very same cultures he tried to save.Drawing inspiration from Barbeau’s canonical book Totem Poles, Jordan Abel explores the complicated relationship between First Nations cultures and ethnography. His poems simultaneously illuminate Barbeau’s intentions and navigate the repercussions of the anthropologist’s actions.Through the use of erasure techniques, Abel carves out new understandings of Barbeau’s writing – each layer reveals a fresh perspective, each word takes on a different connotation, each letter plays a different role, and each punctuation mark rises to the surface in an unexpected way. As Abel writes his way ever deeper into Barbeau’s words, he begins to understand that he is much more connected to Barbeau than he originally suspected.

    Suddenly, a woman clad in full evening dress, from rhinestone tiara to high heels, takes a running leap off the wharf into the Mississippi. Cleo watches, astonished, then turns and runs, mistakenly assuming the jumper is dead — a suicide.But Madeline, it turns out, is not bent on suicide. She is irresistibly drawn to water, as is Cleo, who was conceived during the great flood in Florence in 1966. Perhaps it is this shared obsession with the murky depths that fuels Cleo’s determination to find Madeline. She pounds the quaint streets of New Orleans, city of cheap bourbon, rich turtle soup, the scent of magnolias and A Streetcar Named Desire.Spelling Mississippi is filled with all the bristling energy of Fall on Your Knees. Told with great humour and affection, it is a seductive, liberating story about ties that bind and those that simply restrain, and a lesson not in spelling but forgiveness.