"those of us who've seen miracles know how to ask. / if you've asked, do you love me, i almost certainly / don't love you." This meditative, musically attentive collection explores the confounding nature of intimate relationships. stephanie roberts's poetic expression is often irreverent, unapologetic, and infused with humour that can take surprisingly grave turns. rushes from the river disappointment traverses city, country, and fantasy using nature as artery through the emotional landscape. As they wrestle to come to terms with the effects of uncertainty and grief on hope and belief, these diverse field notes are interspersed with the fabulous: a polar bear and owl engage in flirtation, a time traveller appears on a lake, an erotic scene takes place on a train, and we confront "people capable of eating popcorn at the movie of your agony." roberts's language is dense with images and sometimes acrobatic. In poems that affirm love and desire as treasures fought for more than just felt, rushes from the river disappointment turns an unblinking gaze on the failures of courage that distance us from love.

Lyrical field notes exploring tests of courage in relationships from a bold emerging voice in Canadian poetry.

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.

Here the long edge / of town Low / winter fog / ... My breath / my offering We are / our bodies burning Firmly rooted in fire-haunted landscapes that are at once psychological, emotional, and fiercely real, Patrick Errington’s first collection traces the brittle boundaries between presence and absence, keeping and killing, cruelty and tenderness. In these poems human voices whisper through the natural world – a hand turns on a lamp to extinguish the stars; stones outline a sleeping form; a black eye is a storm cloud. Errington stokes vivid images, formal grace, and subtle humour into the flickers of life that hold fast against unforgiving terrain. Here language functions like a controlled burn, one that could at any moment preserve, perfect, or reduce to ash. Urgent, resonant to the bone, the swailing burns to the ember-edge of grief, memory, and control to find the wildness, wilderness, and wonder that remain.

"those of us who've seen miracles know how to ask. / if you've asked, do you love me, i almost certainly / don't love you." This meditative, musically attentive collection explores the confounding nature of intimate relationships. stephanie roberts's poetic expression is often irreverent, unapologetic, and infused with humour that can take surprisingly grave turns. rushes from the river disappointment traverses city, country, and fantasy using nature as artery through the emotional landscape. As they wrestle to come to terms with the effects of uncertainty and grief on hope and belief, these diverse field notes are interspersed with the fabulous: a polar bear and owl engage in flirtation, a time traveller appears on a lake, an erotic scene takes place on a train, and we confront "people capable of eating popcorn at the movie of your agony." roberts's language is dense with images and sometimes acrobatic. In poems that affirm love and desire as treasures fought for more than just felt, rushes from the river disappointment turns an unblinking gaze on the failures of courage that distance us from love.

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNEXT celebrates the embodied narratives of Latinidad. Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space. Like Hip-Hop, we honor what was, what is, and what's next.

i might never be no-one that shiny / the beauty of a sequin’d self / what was stitched into heaven’s drop The poems in act normal use illegibility and wilful uncertainty to evade the grasp of the normative, as endured by those institutionalized by, and through, the concept of normalcy. act normal starts in an institution where children categorized and constructed as intellectually inferior are placed into custodial care. These poems are inquisitive, articulating the entanglements of lives across categories of difference – particularly the lives of those who as children were considered to be other or less than human. Drawing upon conversations, archival materials, court cases, legislation, transcripts, and case histories, among other sources, nancy davis halifax’s poems destabilize categories of meaning – understanding disability and difference as “undecidability.” act normal is a movement of “feelingthought,” unsettling normative expectations and inviting readers to re-orient from the normative task of assuming the safety of consensual interpretation, while risking, cherishing, and performing non-indifference.

For a change Orpheus / listens to the other / musicians once the hum / of his lyre no longer / hangs like moss from branches / in the forest air In New Songs for OrpheusJohn Reibetanz updates Ovid’s poetry. Ovid’s words showed him to be a person of deep empathy for natural, animal, and human worlds, and so Reibetanz posits that the Roman writer would likely be eager to take account of all that we have learned about them in the past two thousand years. Ovid would be familiar with recent discoveries about the complex inner lives and societies of non-human animals, and about the intricate interrelationships sustained in forests. The poems in New Songs for Orpheus look at and listen to the real creatures into which Ovid’s characters were transformed, acts viewed not as punishment or deprivation, but as a release into other intriguing forms of life. In the human realm, he might find a suitably cataclysmic counterpart to the Trojan War in the barbarities and sacrifices of World War II, or perhaps see an analogue to the Fall of Troy in the fall of the Two Towers in September 2001. The songs Orpheus sings then transform into more contemporary shapes, as characters and incidents from the Canadian musical Come from Away – like those in Ovid’s “restored” world after the flood – are celebrated in a reaffirmation of community after the divisive horrors of 9/11. In all these times and places, metamorphosis brings new meaning into a life, be it human, plant, or animal.

Holmes entered the cabinet / of the respectable reverend / (who was in fact a closet naturalist) / and found so many Victorian things. In the early 2000s flarf poetry emerged as an avant-garde movement that generated disturbing and amusing texts from the results of odd internet searches. In Vlarf Jason Camlot plumbs the canon of Victorian literature, as one would search the internet, to fashion strange, sad, and funny forms and feelings in poetry. Vlarf pursues expressions of sentiment that may have become unfamiliar, unacceptable, or uncool since the advent of modernism by mining Victorian texts and generic forms with odd inclinations, using techniques that include erasure, bout-rimé, emulation, adaptation, reboot, mimicry, abhorrence, cringe, and love. Erasures of massive volumes of prose by John Stuart Mill and John Ruskin become concise poems of condensed sadness; a reboot of Christina Rossetti’s “Goblin Market” is told from the perspective of a ten-year-old boy with an imaginary albatross pal; recovered fragments from an apocryphal book of Victorian nonsense verse are pieced together; a Leonard Cohen song about Queen Victoria is offered in a steampunk rendering; and a meditative guinea pig delivers a dramatic monologue in the vein of Robert Browning. Camlot moves through Victorian literature as a collector in a curiosity shop, seeking the oddest forms of feeling in language to shape them into peculiarly affective poems.

Traces the history of the California Gold Rush from 1849 through 1884 when a court decision forced the shut down of the hydraulic mining operations, bringing decades of careless freedom to an end.