. . short poems so as to draw us into the doubleness and fluency of feelings."—The New York Times Book ReviewQuietly marked by elegy and memory, National Book Award winner Jean Valentine's thirteenth book is empowered by her signature clear music and compassion. Valentine leads us chronologically from childhood drawings and wartime memories to the present, where she addresses aging and the loss of loved ones. These poems of tender grace reflect on the small histories few ever fully see.Shirt in HeavenCome upon a snapshotof secret you, smiling like FDR, leaning on your crutches—come upon letters I thought I'd burned—I suppose you've got a place with lots of stairs.I'm at the end of something, you're at the beginning . . . —dearest, they told me a surgeon sat downin the hospital morgue, next to your body, & cried.He yelled at the aide to get out.His two sons had been your students.—me too, little-knowing—Jean Valentine is the current State Poet of New York and author of twelve books of poetry, including Door in the Mountain, which won the National Book Award. She has taught at Sarah Lawrence College, New York University, and Columbia University, and lives in the Morningside Heights neighborhood of New York City.

    Thus begins The Man Game, Lee Henderson’s epic tale of loved requited and not, that crosses the contemporary and historical in an extravagant, anarchistic retelling of the early days of a pioneer town on the edge of the known world. In 1886, out of the smouldering ashes of the great fire that destroyed much of the city,Molly Erwagen—former vaudeville performer—arrives from Toronto with her beloved husband, Samuel, to start a new life. Meanwhile, Litz and Pisk, two lumberjacks exiled after the fire, and blamed for having started it, are trying to clear their names. Before long, they’ve teamed up with Molly to invent a new sport that will change the course of that fledgling city’s history.

    They are stories about the woods, houses hidden in the gaps between mountains. Behind them, the skeletons of old and powerful machines rust into the slate and leaves. Water red with iron leeches from the empty mines and pools near a stone foundation. The boy there plays in the bones because he is a child and this will be his childhood. He watches while winter comes falling slowly down over the road. Sometimes he remembers a girl, her hair and the perfume she wore. These are stories about her and where she might have gone. He waits for sleep because in the next story he will leave. The boy watches an airplane blink red past his window. From here, you can't hear its violence.

         With over fifty new poems from Britain's favourite poet, You Made Me Late Again! is an essential addition to Pam Ayres' incomparable collection of works. Pam's poems are observant, witty and poignant in equal measure. In 'The Swifts' and 'The Pyracantha Anthem' she marvels at nature, while 'A Patient's Prayer' and 'Litter Moron' offer wry views on Modern Britain. From the dog being afraid of the toaster to your son leaving home for university; and from the search for that perfect swimsuit to becoming a gran for the first time -- Pam's poems are beautifully crafted, and her subjects the everyday and the universal. Delightfully illustrated, most of the poems in You Made Me Late Again! are brand new, yet it also features several firm favourites from her stage shows, published for the first time, such as 'The Make-up Lady' and 'Tippy Tappy Feet'.

    Short Haul Engine is one great twist of fate and fury after another. The writing is clear, striking and open to all sorts of possibilities. Even at their most playful, these poems dive much deeper than initially expected. There's a remarkably dark sense of humour at work here, but tempered with a haunting vulnerability that makes even the sharpest lines tremble.from "Signs Taken for Wonders" ... Too delicate for these dog-days, small, clover-blonde, my sister sews indoors. I ask her to fashion me into something nice, ivory silk. I am a big girl, sunburnt skin like raw meat, sweating two pews in front of the Blessed Virgin....

    With the sort of smart, persuasive voice associated with Simon Armitage and Michael Donaghy, these poems worry at the world in search of consolation, or else meet life's absurdity and strangeness half-way; whether sitting proudly atop an unexploded bomb, or injecting blood under the skin of a banana, playfulness and imagination are vehicles for confronting 'the fearful and forgotten things I've lied to myself about'. Here are poems which address anxiety about fatherhood, remorse for lost lovers and friends, or mourn for a miscarried sibling. Happiness is a collection preoccupied with the ephemerality of happiness itself, at the ever-present possibility of its departure, and the ways we try to grasp and keep hold of it. 'Every single thought I'm having is about LOVE', here meaning both the pleasure and panic of love, its peculiarity; love as a feeling of risk, love for one's own body, familiar yet estranged, of 'cack-handed LOVE at his console', love like 'pausing to move a snail somewhere safer in the rain'.

    In a political atmosphere where language and even meaning itself are continually under threat, poetry has a critical role to play. And our poets have been responding--in the streets and at their desks, demanding a full accounting from themselves and from their nation. Majmudar's elegant introduction to these vital poems reminds us that "false stories take a lot of killing because they are made of language. Because they are made of language, though, they can be killed." From Solmaz Sharif and Eileen Myles to Kevin Young and Juan Felipe Herrera, American poets of diverse styles and strategies have contributed their truths: scenes from the front lines of resistance, and from the interior of our collective conscience. A final cento by Majmudar--a poem including at least one line or phrase from each of the poems in the volume--celebrates the robust multiplicity of voices in this book and in America now.

    Then open up Young Americans, seems obvious what Jordan Castro is doing is revolutionary, he expressing emotions through poetry that have never been done before. The style, the way the subject matter is portrayed, even the meter, are new." - Noah Cicero (author of The Human War, The Insurgent, and more)“If you are a person who doesn’t really know what they are doing and you would like to read about another person who doesn’t really know what they are doing either, I recommend reading this poetry book. I enjoyed reading these poems. Or something.” - Chris Killen (author of The Bird Room)“I read these poems three times in one night, then put the duvet over my head and held my knees for a while. It’s good when something makes sense. I really really liked these poems.” - Ben Brooks (author of Grow Up)

    A reissuing of The Dollmaker’s Ghost, poetry by Larry Levis.

    Away from home, in a small harbor city in Canada, broken-hearted Kirk's lost and alone until one small dog refuses to give up on him.Vibrant widow Miranda Bailey is ready to move into the next phase of her life, except this Christmas is shaping up to be the worst since her husband's death. But instead of hiding, she takes charge, and drags Kirk into her Christmas miracle. The Christmas Collection Book 2: Invitation to Christmas The Christmas Collection Book 3: One Crazy Christmas

    The Boers have turned out to be more resilient than expected, so the British have sent a call to arms to their colonies — and an a great number of men from the Canadian prairies answer the call and join the Canadian Mounted Rifles: a unit in which they can use their own beloved horses. They assume their horses will be able to handle the desert terrain of the Great Karoo as readily as the plains of their homeland. Frank Adams, a cowboy from Pincher Creek, joins the Rifles, along with other young men from the ranches and towns nearby — a mix of cowboys and mounted policeman, who, for whatever reason, feel a desire to fight for the Empire in this far-off war.Against a landscape of extremes, Frank forms intense bonds with Ovide Smith, a French cowboy who proves to be a reluctant soldier, and Jefferson Davis, the nephew of a prominent Blood Indian chief, who is determined to prove himself in a “white man’s war.” As the young Canadians engage in battle with an entrenched and wily enemy, they are forced to realize the bounds of their own loyalty and courage, and confront the arrogance and indifference of those who have led them into conflict. For Frank, disillusionment comes quickly, and his allegiance to those from the Distict of Alberta, soon displaces any sense of patriotism to Canada or Britain, or belief that he’s fighting for a just cause.The events of the novel follow the trajectory of the war. The British strategy of burning Boer farms, destroying herds, and moving Boer families into camps weakens the Boer rebels, but they refuse to give up. The thousands of Boer women and children who die in the camp make the war ever more unpopular among liberals in Britain. (In fact, this conflict marked the first use of the term “concentration camp” in war.) Seeing the ramifications of such short-sighted military decisions, and how they affect what happens to Frank and the other Canadians, is crucial to depicting the reality of the Boer War. By focusing on the experiences of a small group of men from southern Alberta, Fred Stenson brings the reality of what it would have been like to be a soldier in this brutal war to vivid life. The Great Karoo is a deeply satisfying novel, marked by the complexities of its plot, the subtleties of its relationships, and the scale of its terrain. Exhilarating and gruesome by turns, it explores with passion and insight the lasting warmth of friendship and the legacy of devastation occasioned by war.

    Lynn Coady gives us the unforgettable Guy Boucher, a fatherless teenager and recluse, who finds himself at the center of an ugly rumor. Several versions of truth emerge and collide through Guy's eyes and the stories of those who surround him -- his overbearing uncle, a girl idealized by her town, a quietly wise young woman wrestling with demons of her own, his draft-dodger English teacher, and a pair of golden boys trapped in emotional adolescence as well as Big Harbour itself.

    The emotional and hilarious story of hard-living Todd Cartwright who falls in love with Tammy Everett, a woman who literally saves Todd from himself. But Tammy's suspicious, overly-protective father, Harry, does everything he can to crush the relationship. Todd is not about to give up the greatest thing that's ever happened to him and goes to war with Harry. But when the unthinkable happens, the men dive into a physical and emotionally tailspin that threatens to consume them both. Todd decides to go on the honeymoon alone and return to his destructive ways only to find Harry at the airport with Tami's ashes which Harry intends to spread on the island. Reluctantly, these two wounded souls go on the honeymoon - both for very different reasons - where the enormous anguish consuming them causes them to react in very diffferent and unexpected ways. Though these two men hate each other, each is the only person who can understand the loss that the other has suffered. Todd and Harry are forced to recognize that they have one thing in common: they loved the same women. And that bond causes them both to begrudgingly help the other overcome the gaping loss that has swallowed them and move on with their lives.

    There’s Tuyen, a lesbian avant-garde artist and the daughter of Vietnamese parents who’ve never recovered from losing one of their children in the crush to board a boat out of Vietnam in the 1970s. Tuyen defines herself in opposition to just about everything her family believes in and strives for. She’s in love with her best friend Carla, a biracial bicycle courier, who’s still reeling from the loss of her mother to suicide eighteen years earlier and who must now deal with her brother Jamal’s latest acts of delinquency. Oku is a jazz-loving poet who, unbeknownst to his Jamaican-born parents, has dropped out of university. He is in constant conflict with his narrow-minded and verbally abusive father and tormented by his unrequited love for Jackie, a gorgeous black woman who runs a hip clothing shop on Queen Street West and dates only white men. Like each of her friends, Jackie feels alienated from her parents, former hipsters from Nova Scotia who never made it out of subsidized housing after their lives became entangled with desire and disappointment. The four characters try to make a life for themselves in the city, supporting one another through their family struggles.There’s a fifth main character, Quy, the child who Tuyen’s parents lost in Vietnam. In his first-person narrative, Quy describes how he survived in various refugee camps, then in the Thai underworld. After years of being hardened, he has finally made his way to Toronto and will soon be reunited with his family – whether to love them or hurt them, it’s not clear. His story builds to a breathless crescendo in an ending that will both shock and satisfy readers. What We All Long For is a gripping and, at times, heart-rending story about identity, longing and loss in a cosmopolitan city. No other writer has presented such a powerful and richly textured portrait of present-day Toronto. Rinaldo Walcott writes in The Globe and Mail: “… every great city has its literary moments, and contemporary Toronto has been longing for one. We can now say with certainty that we no longer have to long for a novel that speaks this city’s uniqueness: Dionne Brand has given us exactly that.” Donna Bailey Nurse writes in the National Post: “What We All Long For is a watershed novel. From now on, Canadian writers will be pressed to portray contemporary Toronto in all its multiracial colour and polyphonic sound.” But What We All Long For is not only about a particular city. It’s about the universal experience of being human. As Walcott puts it, “Brand makes us see ourselves differently and anew. She translates our desires and experiences into a language, an art that allows us to voice that which we live, but could not utter or bring to voice until she did so for us.”