The first new collection of poetry from Roo Borson since her highly acclaimed collection Short Journey Upriver Toward Oishida, winner of three major prizes, including the Griffin Poetry Prize. Roo Borson's new collection continues the exploration of form, tone, musicality, and content begun in her widely acclaimed previous collection. Here, co-existing peacefully, are the river stone, painted white, that greets the visitor to the grave of the poet James K. Baxter in the far back country of New Zealand's Wanganui River; the Beijing night sky, turned apricot by the smog and full moon of the Mid-Autumn Festival; the crypts of Toronto's Mount Pleasant Cemetery, seen as potential living spaces; an old friend speaking "knowledgeably, reverentially, and at the same time light-heartedly, in this way gradually restoring significance to the world." By turns wry and ecstatic, droll and elegiac, quizzical and contemplative, this is a major new work by one of our most singular and compelling poets.

The first new collection of poetry from Roo Borson since her highly acclaimed collection Short Journey Upriver Toward Oishida, winner of three major prizes, including the Griffin Poetry Prize. Roo Borson's new collection continues the exploration of form, tone, musicality, and content begun in her widely acclaimed previous collection. Here, co-existing peacefully, are the river stone, painted white, that greets the visitor to the grave of the poet James K. Baxter in the far back country of New Zealand's Wanganui River; the Beijing night sky, turned apricot by the smog and full moon of the Mid-Autumn Festival; the crypts of Toronto's Mount Pleasant Cemetery, seen as potential living spaces; an old friend speaking "knowledgeably, reverentially, and at the same time light-heartedly, in this way gradually restoring significance to the world." By turns wry and ecstatic, droll and elegiac, quizzical and contemplative, this is a major new work by one of our most singular and compelling poets.

A captivating and poignant new collection of poetry from Griffin Poetry Prize winner Roo Borson that probes some of our most important questions. After Roo Borson's two previous collections -- Short Journey Upriver Toward Oishida and Rain; road; an open boat -- set the seasons in motion, focusing the poet's mind on time, mortality, transience, and absence, Cardinal in the Eastern White Cedar arrives to complete the triptych. From the glittering, classically rendered image to a freighted, lucid, narrative line, Borson's voice can shift and refract while holding true to the momentary facts of the shifting, given world. Her meditations are a kind of fidelity to inquiry, to attachment, to what can't be fully known. Here the distant past collides with the near future, the present opens suddenly into another age, and friendship becomes the measure of time's salience. These poems depict what vanishes, the various modest homes where half-remembered lives all flow toward their common end. Roo Borson has crowned a sustained achievement with a work of startling intimacy and vividness.

Fifty writers on life, art and writing from twenty-two years of Brick, A Literary Journal. Founded in 1977, Brick, A Literary Journal features a great many of the world’s best-loved writers, and has readers in every corner of the planet. The magazine prizes the personal voice and celebrates opinion, passion, revelation, and the occasional bad joke. This anthology, which collects some of the very best work to appear in Brick over the last twenty-two years, is an essential collection of some of the finest writers at work today including, John Berger, Fanny Howe, Don DeLillo, Elizabeth Hay, Colm Tóibín, A.L. Kennedy, Alistair McLeod, Tim Lilburn, Jane Rule and Jeffrey Eugenides to name but a few. Full of invigorating and challenging literary essays, interviews, memoirs, travelogues, belles lettres, and unusual musings, The New Brick Reader is the perfect introduction for those new to Brick and an ideal treasury for the magazine’s many fans. Contributors include Rob Fyfe, Alistair Macleod, Michael Ondaatje (interview with Malouf), Annie Proulx, Brand, Creeley, Rushdie, CD Wright, Atwood, Gibson, Russell, Banks (what I'd be if not a writer), Peter Harcourt, Jane Rule, James Wood (interviews W G Sebald), Helen Garner, Elizabeth Hay, Michael Helm, Jeffrey Eugenides, Roo Borson, Jonathan Lethem, Tim Lilburn, Robert Creeley, Michelle Orange, Fanny Howe, A. L. Kennedy, Semi Chellas, Don DeLillo, Alistair Bland, Dionne Brand, Esta Spalding (interviews David Sedaris), John Berger, Clark Blaise, Jim Harrison, Clayton Ruby, Robert Hass, George Toles, Stephan Bureau (interview with Mavis Gallant), Roberto Bolano & Forrest Gander, Leon Edel (Craig Howes), Paule Anglim (interview with Gabrielle Buffet-Picabia), Colm Toibin, Don Paterson, Albert Nussbaum, W.S. Merwin, Sean Michaels, Charles Foran, Colum McCann & R. Chandran Madhu, Melora Wolff, and Eleanor Wachtel (with Anne Carson).

In 1946, the poet Earle Birney, then an English professor at the University of British Columbia, broke new ground by establishing a single course within the English department, one for the writer “naked in academe.” He went on to found the UBC Creative Writing Department in 1963 – Canada’s first university writing program, a learner-centered, interdisciplinary experience that has produced many of Canada’s finest writers and poets. Celebrating fifty years of creative writing at UBC, Naked in Academe showcases an impressive diversity of literary voices that have grown out of the program. From short stories to poetry, narrative essays to scripts for theatre and film, herein is a dynamic collection of writing from across Canada that, like the program itself, is at once contemporary and vibrant, relevant and incisive.

This impressive volume provides over 1,700 biographical entries on poets writing in English from 1910 to the present day, including T. S. Eliot, Dylan Thomas, and Carol Ann Duffy. Authoritative and accessible, it is a must-have for students of English and creative writing, as well as for anyone with an interest in poetry.

Vols. 1-64 include extracts from correspondence.

Congress adjourned on 18 May 1852 for Louisa Catherine Adams’s funeral, according her an honor never before offered a first lady. But her life and influence merited this extraordinary tribute. She had been first the daughter-in-law and then the wife of a president. She had assisted her husband as a diplomat at three of the major capitals of Europe. She had served as a leading hostess and significant figure in Washington for three decades. And yet, a century and a half later, she is barely remembered. A Traveled First Lady: Writings of Louisa Catherine Adams seeks to correct that oversight by sharing Adams’s remarkable experiences in her own words. These excerpts from diaries and memoirs recount her early years in London and Paris (to this day she is the only foreign-born first lady), her courtship and marriage to John Quincy Adams, her time in the lavish courts of Berlin and St. Petersburg as a diplomat’s wife, and her years aiding John Quincy’s political career in Washington. Emotional, critical, witty, and, in the Adams tradition, always frank, her writings draw sharp portraits of people from every station, both servants and members of the imperial court, and deliver clear, well-informed opinions about the major issues of her day. Telling the story of her own life, juxtaposed with rich descriptions of European courts, Washington political maneuvers, and the continuing Adams family drama, Louisa Catherine Adams demonstrates why she was once considered one of the preeminent women of the nineteenth century.