LITMIR.BIZ

Blurbs from CAConrad and Craig Dworkin A fun, lively, funny collection of poems about the everyday that somehow transcend the quotidian.Here you'll fine Andy Warhol, Frank O'Hara, Frank Ocean, Aaliyah and the Temptations: Dowling appropriates pop culture in what she calls the intersection between the «zany» and the «merely interesting.»

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Currin's last book (The Inquisition Yours) won the Audre Lore Award for lesbian poetry, and was shortlisted for the Lambda Literary Award in the same categoryCurrin identifies as a LGBTQ writer and her work may be of interest to bookstores with an LGBTQ focusBook may be of interest to political/social activists, given its scope and themes of collective change.

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"Sina Queyras is a poet to read and reckon with."— Lambda Literary Review MxT , or «Memory x Time,» is one of the formulas acclaimed poet Sina Queyras posits as a way to measure grief. These poems mourn the dead by turning memories over and over in their hands, by invoking other poets, by appropriating science, by studying the history of elegy. Devastating, cheeky, allusive, hallucinatory: this is Queyras at her most powerful. All the gods know is destinations. I have raisedA glass, my eye, your hook. Let's face it the worldIs a shrinking place and hungry: too much griefTo feed. I float away from you on hard Covers. I step out on the stacked hours. WordsIf they were soil how I would throw them back into theCompost pile and wait for spring. Those «this is howIt is,» speeches appear and later diamonds soft as bullets. I went to the library looking to scaffold my thoughts.Sure, now you say Lucretius. Intelligence is so oftenHindsight. Outside Holly Golightly's townhouseThere are taxis. The end of me, or you, is of no concern. Frederick Seidel anoints me with the head of his penis.It is soft as a chamois and spreads like egg across my scalp. Sina Queyras is the author of the Lambda Award–winning Lemon Hound , Expressway (shortlisted for the Governor General's Award), and the novel Autobiography of Childhood (shortlisted for the Amazon First Novel Award). She often writes for the Poetry Foundation and runs the online journal Lemon Hound (Lemonhound.com).

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Like the rhapsodists, the storytellers of ancient Greece, A Pretty Sight shapes voices of the past and present into a stitched song lifted and sounded toward the next century. Haunted by «time's frame / that dark shape near the edge of the canvass,» O’Meara's new book explores aspects of culture, art, war, rebellion and technology, offering defiance amid decay.

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These poems pause for the spectacle: cloning technologies, super-slo-mo photography, narcotic cab rides. Making fun of consciousness, they describe a system of tripwires, pitfalls, and decoys that this notion of daily viewership entails. These peoms are paeans to our facility for duplicity and self-deception, in which the act of living becomes more and more like a movie we're not in.

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"White Piano holds an acute sense of what poetry is, its danger. . . . Brossard knows well that 'life is only good for living' and that living is incarnated in the material of language, that sounds, those carriers of sense, can propel it in front of the world."—Le Devoir Between the verbs quivering and streaming, White Piano unfolds its variations like musical scores. Pronouns and persons, poetry and prose: White Piano, superbly translated from the French, narrates a constellation of questions and offers a «language that cultivates its own craters of fire and savoir-vie.» Nicole Brossard is one of North America's foremost practitioners of innovative writing.

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The poems largely concern Henderson's work in the Alberta oilfields, which should be of growing interest as awareness of where our energy comes from increases.With themes of masculinity, violence and labour in the mix, this book should appeal to people who like their poetry with a good dose of testosterone

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Cutting Room both describes and pushes against the anxious hum of the technologically saturated present. Sarah Pinder's poems navigate domestic and «natural» spaces as landscapes charged with possible violence and desire while they scan scenes as an outsider or camera eye to unsettle and fray familiar settings. Using hyper-focus and the long gaze, they draw the eye to the corners and seams of these spaces, slowing us down, shifting our focus to worn detail, asking us to seek pattern and possibility in a hyper-paced present tense. These are little ominous films, documenting the minutiae around us that can be our undoing.Let their ribs stretch out – there is no figurewhich is not also a ground inits arctic plane. Cutting rooms as luckwould have it have academic sincerity.Sarah Pinder was born in Sault Ste. Marie, Ontario, and lives in Toronto, Ontario. This is her first collection.

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A part-time stand-up comedian and songwriter, McGimpsey is widely respected as an excellent, engaging and entertaining performer of his work.The book has a strong American focus, including memorable sequences set in Los Angeles, Nashville and Southwest Texas.From baseball to beer to television, the subjects of these sonnets should have great appeal even to people who don't read poetry. It's terrifically funny.McGimpsey's last book, Sitcom , sold well and garnered an A.M. Klein Prize for Poetry and ReLit Award nomination.

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Croak is a frog-and-girl opera in three parts, played out like a YouTube mashup of mid-century cartoons set to a contemporary pop song. It parades, mutilates, and reacquaints Kermit the Frog with Girl 00010111, Michigan J with Aristophanes, and biblical plagues with caged canaries in a vaudevillian play of time, culture, gender, and narrative. Combining vivisection and classical literature, empirical observation and philosophical speculation, Jenny Sampririsi's grotesque characters splash and sparkle before moving toward their inevitable narrative end. Jenny Sampirisi is the managing editor of BookThug and co-director of the Toronto New School of Writing. She is the author of the novel is/was.

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