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Canadian non-fiction, Poetry
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*Winner 2024 Raymond Souster Award* Longlisted 2024 Gerald Lampert Award* Winner 2023 Alcuin Award* Poems for and about the incarcerated.…
Moving from riots to mall parkades to church, the poems in Bradley Peters' debut Sonnets from a Cell mix inmate speech, prison psychology, skateboard slang and contemporary lyricism in a way that is tough and tender, that is accountable both to Peters' own days "caught between the past and nothing" and to the structures that sentence so many "to lose." Written behind doors our culture too often keeps closed, this is poetry reaching out for moments of longing, wild joy and grace. Drawing on his own experiences as a teenager and young adult in and out of the Canadian prison system, Peters has written both a personal reckoning and a damning and eloquent account of our violence- and enforcement-obsessed capitalist and patriarchal cultures.
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Canadian travel and geography, Nature, Environment, Award winning non-fiction
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Entre le Québec et le Nouveau-Brunswick s'étend une rivière majestueuse aux eaux d'une rare transparence, aux imposantes berges boisées, où…
foisonne une population de saumon qui en a fait un lieu prisé des animaux et des hommes depuis des temps immémoriaux : la Ristigouche. Naviguant ses flots depuis l'enfance, l'écrivain et journaliste Philip Lee remonte dans son canot pour nous entraîner sur les anciennes routes de portage jusqu'au cours principal, qu'il descend vers l'estuaire de la baie des Chaleurs. Dans une prose aussi souple que les sinuosités de la rivière, il nous en raconte l'histoire, en explore les innombrables strates - géologiques, environnementales, humaines, industrielles - et nous invite à découvrir cet écosystème parmi les plus riches de notre planète pour mieux le protéger. Ristigouche, c'est faire du canot en compagnie du meilleur guide imaginable. En plus d'être un grand conteur, Philip est un fabuleux chercheur. Vous croiserez bien sûr des gens riches et célèbres - les Irving du Nouveau-Brunswick, Teddy Roosevelt, les Vanderbilt, le marquis de Lorne et son épouse, la princesse Louise, fille de la reine Victoria -, mais vous rencontrerez aussi des gens ordinaires qui vivent le long de la rivière et vous vous en éprendrez : bûcherons, pêcheurs, francophones, anglophones, Mi'gmaq. C'est un cours d'eau qui a connu bien des tumultes, depuis l'ignoble expulsion des Acadiens il y a près de trois siècles jusqu'à ce jour de 1981 où des agents de la Sûreté du Québec et des gardes-pêche québécois ont battu et arrêté des membres de la Première Nation de Listuguj pour avoir pêché le saumon au filet. Le saumon, bien sûr, est au cœur de ce superbe livre, tout comme il est l'attraction principale des eaux cristallines de la Ristigouche. Infatigable défenseur de l'espèce, Philip décrit les ravages de la surpêche, de l'exploitation forestière, de la pollution et du changement climatique. Ce livre est son plaidoyer pour la conservation, la protection et la restauration de ce magnifique cours d'eau. Mais c'est aussi, par bonheur, un livre rempli d'amour pour la rivière et d'espoir pour son avenir. Roy MacGregor, auteur et chroniqueur
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Poetry
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Brandi Bird's frank, transcendent poetry explores the concepts of health, language, place, and memory in this long-anticipated debut collection. Brandi…
Bird’s long-anticipated debut poetry collection, The All + Flesh, explores the concepts of health, language, place, and memory that connect its author to their chosen kin, blood relatives, and ancestral lands. By examining kinship in broader contexts, these frank, transcendent poems expose binaries that exist inside those relationships, then inspect and tease them apart in the hope of moving toward decolonial future(s). Bird’s work is highly concerned with how outer and inner landscapes move and change within the confines of the English language, particularly the “I” of the self, a tradition of movement that has been lost for many who don’t speak their Indigenous languages or live on their homelands. By exploring the landscapes the poet does inhabit, both internally and externally, Bird’s poems seek to delve into and reflect their cultural lineages—specifically Saulteaux, Cree, and Métis—and how these transformative identities shape the person they are today. I am made of centuries & carbohydrates the development of my molars the hunger the teeth grew has been with me since childhood I can’t escape the mouths of others
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Poetry
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Marked by rhythmic drive, humour, and surprise, Undi’s poems consider what is left out from the history and ongoing realities…
of Winnipeg, Manitoba. Firmly grounded in the local, the arresting poems in Chimwemwe Undi’s debut collection, Scientific Marvel, are preoccupied with Winnipeg in the way a Winnipegger is preoccupied with Winnipeg, the way a poet might be preoccupied with herself: through history and immigration; race and gender; anxieties and observation. Marked by rhythmic drive, humour and surprise, Undi’s poems consider what is left out from the history and ongoing realities of Winnipeg, Manitoba, and the west. Taking its title from a beauty school in downtown Winnipeg that closed in 2017 after nearly 100 years of operation, Scientific Marvel approaches the prairies from the point of view of a person who is often erased from the prairies’ idea of itself. “I mean my country the way / my country means my country / and what else is there to say? / I am bad and brown / and trying. Nothing here / belongs to me or could / or ever will.” This is poetry that touches on challenging topics—from queerness and colonialism to racism, climate rage, and decolonization, while never straying far from specific lived experience, the so-called ‘smaller’ questions: about self, art, dance parties and pop culture, relationships and love.
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Poetry
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Winner 2023 Alcuin AwardLonglisted 2024 Raymond Souster and Gerald Lampert AwardsPoems for and about the incarcerated. Moving from riots to…
mall parkades to church, the poems in Bradley Peters' debut Sonnets from a Cell mix inmate speech, prison psychology, skateboard slang and contemporary lyricism in a way that is tough and tender, that is accountable both to Peters' own days "caught between the past and nothing" and to the structures that sentence so many "to lose." Written behind doors our culture too often keeps closed, this is poetry reaching out for moments of longing, wild joy and grace. Drawing on his own experiences as a teenager and young adult in and out of the Canadian prison system, Peters has written both a personal reckoning and a damning and eloquent account of our violence- and enforcement-obsessed capitalist and patriarchal cultures.