Arcing across thirty years and seven volumes, Jan Zwicky’s poetry has always been acutely musical (and sensitive to the silence out of which music comes). In the compositions in Chamber Music, the first anthology of Zwicky’s poems, one may perceive the attunement of her vocations: poet, philosopher, violinist. Her poetry both praises and relinquishes the earth, bearing witness to the fierce skies of the prairies and the freezing rain of the West Coast. Enacting the virtue of clarity prized and defended by her explicitly philosophical work, this poetry is both resonant and integrated. It is also formally diverse, ranging from the singular focus of the lyric ode to suites of variations and fugal structures, from polyphonic textures to the sprawling reach of narrative gestures. Throughout, one feels the deft hand of an adept using powerful metaphors to explore themes of colonial violence, environmental devastation, spiritual catastrophe, and transformation. Resisting Western philosophy’s exclusion of imagination from civic life, Zwicky’s poetry is noteworthy for the tension it achieves between the abstract and the personal, the general and the particular. Meditating repeatedly on themes of love and grief, this poetry is at once passionately committed to the lucidity of its utterances and the fidelity of its images.

Over the past few decades, a group of writers we might call the Thinking and Singing poets have stood at the forefront of poetry in Canada. These five poets – Dennis Lee, Don McKay, Robert Bringhurst, Jan Zwicky, and Tim Lilburn – are major voices in an era of ecological devastation and spiritual unease. Their diverse, questioning work suggests new ways to confront some of the most pressing issues of our time. In vibrant prose, Mark Dickinson explores the relationship between the lives of these poets and their writing, examining their intersecting careers and friendships, and the ways they learned from and challenged one another. Canadian Primal uses an unconventional approach, blending biography with literary analysis and drawing from meetings and correspondence with each poet over many years to trace the people and events that inspired the creation of important texts. Dickinson tracks how each of the writers arrived at poetry as a way of being, and at the heart of their poetics he finds both a musical intelligence and the crucial importance of the land. Canadian Primal is literary biography reconceived as an adventure of the mind, body, and spirit. Ebullient, intelligent, and eminently readable, it reminds us that we can live on the earth in a different way, true to the defining experiences of our lives, surrounded by meaning and presence beyond our imagining.

The best books of poetry published in English internationally and in Canada are honoured each year with the $65,000 Griffin Poetry Prize, one of the world's most prestigious and valuable literary awards. Since 2001 this annual prize has acted as a tremendous spur to interest in and recognition of poetry, focusing worldwide attention on the formidable talent of poets writing in English. The judges for the 2012 Griffin Poetry Prize are Heather McHugh, David O'Meara, and Fiona Sampson. And each year the editor of The Griffin Poetry Prize Anthology gathers the work of the extraordinary poets shortlisted for the awards and introduces us to some of the finest poems in their collections. Royalties generated from The 2012 Griffin Poetry Prize Anthology will be donated to UNESCO's World Poetry Day, which was created to support linguistic diversity through poetic expression and to offer endangered languages the opportunity to be heard in their communities.

In the foreword to Wisdom & Metaphor, Jan Zwicky observes that “those who think metaphorically are enabled to think truly, because the shape of their thinking echoes the shape of the world.” Wisdom & Metaphor explores the ways we come to understand the world through analogical structures, and the relation of this form of knowing to conventional epistemology and ontology. Zwicky uses the nature of the book itself, with its facing pages, to create resonant structures of aphorism and quotation which allow the reader to experience the kind of thinking she describes. The author’s wide-ranging influences, coupled with an understated, largely spatial, style of discourse, make this a remarkably original approach to long-standing questions about meaning and language. It offers a unique and compelling argument for the fundamental importance of metaphor to philosophy.

The development of literature in Canada with an eye to its multicultural, multiethnic, multilingual nature. From modest colonial beginnings, literature in Canada has arrived at the center stage of world literature. Works by English-Canadian writers -- both established writers such as Margaret Atwood and new talents such as Yann Martel -- make regular appearances on international bestseller lists. French-Canadian literature has also found its own voice in the North American and francophone worlds. "CanLit" has likewise developed into a staple of academic interest, pursued in Canadian Studies programs in Canada and around the world. This volume draws on the expertise of scholars from Canada, Germany, Austria, and France, tracing Canadian literature from the indigenous oral tradition to thedevelopment of English-Canadian and French-Canadian literature since colonial times. Conceiving of Canada as a single but multifaceted culture, it accounts for specific characteristics of English- and French-Canadian literatures, such as the vital role of the short story in English Canada or that of the chanson in French Canada. Yet special attention is also paid to Aboriginal literature and to the pronounced transcultural, ethnically diverse character ofmuch contemporary Canadian literature, thus moving clearly beyond the traditions of the two founding nations. Contributors: Reingard M. Nischik, Eva Gruber, Iain M. Higgins, Guy Laflèche, Dorothee Scholl, Gwendolyn Davies, Tracy Ware, Fritz Peter Kirsch, Julia Breitbach, Lorraine York, Marta Dvorak, Jerry Wasserman, Ursula Mathis-Moser, Doris G. Eibl, Rolf Lohse, Sherrill Grace, Caroline Rosenthal, Martin Kuester, Nicholas Bradley, Anne Nothof, Georgiana Banita, Gilles Dupuis, and Andrea Oberhuber. Reingard M. Nischik is Professor of American Literature at the University of Constance, Germany.

Dedicated for nearly thirty years to making literature and its creators more accessible and intriguing to researchers, the series presents signed, authoritative biographical and critical essays on writers from all eras and genres. Rigorously meeting the standards of librarians and instructors, signed entries are written by academic experts in the field and include illustrations and extensive bibliographies.

This book celebrates the timeless connection between poetry and music with more than 150 extraordinary poems, each one directly inspired by an unforgettable musical encounter. Throughout the book we experience how music entralls and evokes, whether in opera houses and jazz clubs, on road trips, or in the unexpected interior worlds to which music escorts us.

A Ragged Pen brings to the page five essays on memory. First delivered in Vancouver in the spring of 2005, these talks-by Robert Finley, Patrick Friesen, Aislinn Hunter, Anne Simpson and Jan Zwicky-examine the narrative challenges, lyric energy and questions of verity that surround the subject of memory in a creative context. Finley's essay searches out appropriate, genuine voices for memories. Comparing photo narrative projects, his own and a friend's, he proposes a form of storytelling that incorporates both memory and creation, a dialogue that speaks to, rather than for, the past. Within the discussion of narrative Zwicky posits a distinction between lyric and narrative treatments of memories, what each accepts about and tries to do with what memory delivers, and whether a difference in the degree of verity is part of this distinction. Hunter picks up the thread of verity and examines the discrepancy between seeing and imagining, the notion of "real" and the power of memory, drawing on the work of Borges, Seamus Heaney and recent science that calls into question commonly held perceptions of truth. Friesen begins with a childhood memory he suspects may be an invention, and opens onto the role of longing in memory and in poetry, challenging the assumption of past experience in longing, arguing for a note of loss in every new experience, a longing for what has never been. Simpson uses a myth of longing, that of Orpheus and Eurydice, to dig beneath metaphor, bringing new ideas and influences to the role of metaphor in social interactions and artistic endeavours. Together these essays make fascinating crossovers and offer fresh insight on memory and art. A Ragged Pen is a valuable new contribution to the study of poetics and narrative philosophy.