At night we swim / following the fence: / diverted / we enter the net / shaped like a heart / and in the heart the hook / guides us to the back A stunning unfolding of memory, Wavelengths of Your Song juxtaposes a childhood in the northern Canadian wilderness with the adventures of an international creative life. Genuine environmentalism is at the heart of this collection. Migrations of birds and humans lend their songs to the vivid writing and a tangible, sensory reality emerges from their sounds. Music by Beethoven and Rzewski, paintings by Norval Morrisseau and Kandinsky, and writing by Kafka and Celan, inspire Eleonore Schönmaier's poetry. She takes the reader on unexpected journeys skiing across frozen lakes, cycling along Dutch canals, or hiking in Malta and New Zealand. With surprising, at times breathtaking connections, she illuminates hot air ballooning, canoe camping, planting trees on Vienna rooftops, and the bathing of a black horse in the North Sea. In poems that travel extensively around the globe, in lists for living well, and in love letters, Eleonore Schönmaier takes the reader on a journey along the wavelengths of the ocean, sound, and the physics of light.
I've lived the way a field is sometimes / a shelter for mice / or sometimes a source of game / for a hawk Inspired by the literary landscape of the late poet John Thompson, Kevin Irie's The Tantramar Re-Vision presents a portrait of nature where the benign and the bedevilled coexist, collude, or collide. The Tantramar Re-Vision charts routes of discovery as it follows trails, waterways, flights, and fears, be it through the woods, the wilds, the page, or the mind where "it's hard to admit / you are not to your taste." It questions an existence in which the inhuman thrives, ignorant of divinity, while the human psyche continues to search for answers as "life takes directions / away from" it. The Tantramar Marsh setting of John Thompson's Stilt Jack resonates with Irie's landscapes of birds, fish, plants, and wildlife, all still within reach yet part of a world where "wind carries sounds / it cannot hear." Insightful and meditative, The Tantramar Re-Vision is poetry of the inner self and the outside observer, a poetic testament to the ways literature creates its own landmarks and nature survives without knowing a word.
Shiver. Swift whip of wind. / Fangs of the low front / stinging fierce as forest fires. / Frost thickening the stoop. In his debut collection, Short Histories of Light, Aidan Chafe recounts his Catholic upbringing in a household dealing with the common but too often taboo subject of mental illness. In unflinching fashion, Chafe reveals the unintended disasters that follow those who struggle with depression and the frustration of loved ones left to pick up the pieces. Other sections of the book shine a light on the wounds inflicted by systems of patriarchy, particularly organized religion, and the caustic nature of humanity. Imagery and metaphor illuminate Chafe’s writing in a range of poetic forms, both modern and traditional. A boy stares helplessly through the walls of the family home, watches “filaments in glass skulls buzzing.” A father’s birthmark is described as a “scarlet letter.” Grandma is portrayed as a “forgotten girl on a Ferris wheel of feelings.” Vivid and haunting, at once tender and terse, Short Histories of Light captures what it feels like to be a short circuit in a world of darkness.
"My best actions are a parrot's / bright feathers in the dark jungle / trying to catch your eye / with the colour and flight / which says, I am here / and trying to do what’s right." Do we make the universe, or does it make us? In Outside, Inside, Michael Penny positions each of us at the centre of this mystery, but lightens this presumption with irony and word-play that is as entertaining as it is thought-provoking. The three hundred short, linked poems in this collection begin with a complaint about the unknowability of what's outside and what's inside, but then shift to an engagement with the very nature of this outside/inside dichotomy. Penny then explores the many ways the question arises for us: through travel, wind, rain, signs, ladders, landscape, the sun, the moon, even parrot feathers, and, of course, in how we use words and find meaning in them. Ultimately, the poems ask whether we construct what's outside, or whether what's outside constructs us.
"This is poet's poetry, written with keen attention to inner harmonies and the see-saw of words. In an era of Instagram-driven micro-poetry, aka 'Like Poems,' all flimsy and whimsy, The Danger Model is an actual book crammed with actual poems. A vivid, fearless re-visiting of beloved free verse tropes, from dense, manic prose poems to singing, call-and-response, otherworldly hymns. A generous book, The Danger Model hardly feels like a first book. Rather the opposite – a collected works by a senior poet." Quebec Writers' Federation Concordia University First Book Prize jury
The past grabs back / what it lets us handle Bitter in the Belly reckons with suicide’s wreckage. After John Emil Vincent’s best friend descends into depression and hangs himself, fluency and acuity lose their lustre. Vincent sorts through and tries to arrange cosmologies, eloquence, narrative, insight, only to find fatal limitations. He tries to trick tragedy into revealing itself by means of costume, comedy, thought experiment, theatre of the absurd, and Punch and Judy. The poems progress steadily from the erotic and mythic to the lapidary and biblical, relentlessly constructing images, finding any way to bring the world into the light – what there is of light, when the light is on. In his most personal book, Vincent moves from stark innocence through awful events and losses, to something like acceptance without wisdom – Jonah spit back onto the sand with little to report but that he’s home.
In her debut poetry collection, Deborah-Anne Tunney delves into the life and work of one of the twentieth century's most influential film directors, Alfred Hitchcock. Just as Hitchcock's work looks unflinchingly at some of the darkest elements of human nature, A Different Wolf turns a lens on the director himself, revealing the interplay between the social mores of his time and Hitchcock's distinctive psychological makeup. A Different Wolf views the iconic director's cinematic masterpieces through the optics of the poet's personal quest for meaning. Tunney reveals how guilt and innocence, universal and timeless subjects, work to define character and motivate plot. Other poems illustrate Hitchcock's presentation of women as a sign of his fixations, but also as a product of his era. His desire to expose the qualities of time - how film can slow it down or speed it up, qualities he considered filmmaking's most important tool - points to the deep resonance of his work. Providing a sharp-eyed analysis of Hitchcock's life and art, A Different Wolf offers a unique take on the filmmaker's enduring relevance.
fire / and water surging on the screen - / since children, metros, planets, beds, and lovers are / so lightly swept away - I must not even breathe. Danielle Janess's debut poetry collection resists the erasing effects of war, nationalism, and forced migration. Following the speaker's arduous relocation to a twenty-first-century Europe still etched with the wounds of the past, the poems take on daring forms and language, becoming theatre, film clips, photographs, and dance, all embodied by a cast of characters marked by the violence of the last century. Arrested in Warsaw within the first twenty days of the Second World War, Janess's maternal grandfather was sent to a Soviet gulag where he survived for three years before joining the Free Polish Army in Russia and later the battle of Monte Cassino in the Italian Campaign. Many of the poems in The Milk of Amnesia grow from the soil of Warsaw and Berlin, where the poet-speaker catapults herself and her young child in an effort to locate and unearth their family inheritance. Drawing from the tradition of poetry of witness, The Milk of Amnesia performs a visionary resistance, lit with signposts in a charged atmosphere. An address to our ongoing struggles with historical memory, these poems act as both artifact of and antidote to our time.
Subtler, subtler, beat our hearts / down aisles of cluttered glitz. Unbecoming, Neil Surkan's sophomore collection, clings to hope while the world deteriorates, transforms, and grows less hospitable from moment to moment. Interplaying tenderness with dogged perseverance, these poems tumble through vignettes of degraded landscapes, ebbing spiritual communities, faltering men, and precarious friendships. Yet, in the face of such despair, responsibility and optimism bolster one another – exuberance, amazement, and compassion persist despite the worsening of the wounded Earth. Multifaceted and inventive, this collection of poems vaults from intimation to excoriation, where grief, desire, bewilderment, and protest all crackle and meld. As the world "appears, exceeds, and un- / becomes too quickly for certainty, / just enough for love," the poems in Unbecoming face the horizon with wary eyes and refuse to turn away.