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My Dinosaur

BookThug


There's a real fascination with fathers in Québécoise literature, and this recurring persona populates fiction, films, and the stories people tell of their families and themselves. Thus, it's not surprising that, as he witnessed his own father's growing frailty, François Turcot-one of Quebec's most celebrated young literary voices-would write his own dedication to his vanished father, entitled My Dinosaur. In this, his first collection of poems to be published in English (and translated by renowned poet Erín Moure), Turcot pays tribute not just to the father, but also to the figure of the son, and to writing itself as key to story, emotion, memory, and history.

With luminous and lucid writing, Turcot excavates the fossil gaze of his father in an elated elegy composed of poems both tensed and open, minimalist and talkative, serious and droll, alternating the voice and writings of the father with the fictions and assemblies of the son-reminding us that a man's story can only be told by assembling the shreds and bits that have been accumulated over the course of our lives.

As a prolonged metaphor for the endurance of memory, Turcot's meticulous assembly in My Dinosaur is a tribute to all our Dads.

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Praise for Mon dinosaure:

"Mon dinosaure offers a strong reading experience, Borgesian in a way, where form, robust and demanding, combines with content both humble and sensitive, hold up in an awareness of the volatility and memory of things." —Sébastien Dulude, Lettres québécoises

"This kind of work is magnificent. Here's a well-constructed book that not only offers itself the pleasure of speaking of the life beyond death, but establishes a dialogue between lost loves." —Hugues Corriveau, Le Devoir

"Assembled using a variety of materials (prose, verse, letters), Mon dinosaure catalogues a sort of Father-constellation, fragmented into several utterances of memories filtered by a type of poetry which weighs up its effects and fears boastfulness more than anything…. More than just a book on the father figure, Mon dinosaure highlights the essential share of fiction that fuels and shapes memory." —Dominique Tardif, Voir

"François Turcot speaks of the death of the father in Mon dinosaure, a singular book that opts for a poetic approach which is both stimulating and original." —Denise Brassard, Voix et images

"Throughout this magnificent collection, we find fragments of memory that bring a father (the author’s) back to life. Oscillating between the shadows and the light, François Turcot presents his lines as though they were archaeological material and reminds us that (hi)story is made of fragments, which can only be told 'shred by shred.' The father has lost his diary he called his 'Book of Hours,' and so that’s what the son will try to piece back together. The result is both disturbing and brilliant." éManon Trépanier, Radio-Canada/La librarie francophone

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Jacob Wren makes literature, performances and exhibitions. His books include: Unrehearsed Beauty, Families Are Formed Through Copulation, Revenge Fantasies of the Politically Dispossessed and Polyamorous Love Song (a finalist for the 2013 Fence Modern Prize in Prose and one of the Globe and Mail’s 100 best books of 2014). As co-artistic director of Montréal-based interdisciplinary group PME-ART he has co-created the performances: En français comme en anglais, it’s easy to criticize, Individualism Was A Mistake, The DJ Who Gave Too Much Information and Every Song I’ve Ever Written. He travels internationally with alarming frequency and frequently writes about contemporary art.

 
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Cover zur kostenlosen eBook-Leseprobe von »Dust or Fire«

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Dust or Fire

Goose Lane Editions


Is this life a route or a destination?

Alyda Faber's assured début examines the ties that bind us to one another and to the Earth we inhabit, and asks the question, What is left of us when we are gone?

In the quiet and unsettling poems of Dust or Fire, Faber speaks from the grief following death to explore the meaning of love and family. She is not afraid of gaps and ellipses, finding music in the silences. Her unflinching gaze explores the imperfections of our fleeting existence, our ambitions and relationships, our flawed humanity. Documenting the search for home, the longing to belong, to love and be loved, she turns to the ways love can curve toward pain, how we carelessly hurt one another, but also how we find the grace to forgive and carry on. Dust or Fire is a moving collection, at once grounding and uplifting.

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"Family and its aftermath, how to honour the devastation and save the girl? Circling around her parents' meeting in a Frisian train station, Alyda Faber, at turns austere and lyric, elliptical and direct, zeroes in on love and fear until the atom splits. She gifts us with some of the best writing about family by a Canadian poet in many years."

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"To open the pages of Alyda Faber's Dust or Fire is to embark on a questing journey into the fragmentary elusiveness of family history, the threatened survival of Frisian — the language of Friesland — and the precariousness of life itself. along the way, the reader is repeatedly left breathless by the shimmering images and the intricately clever metaphoric wordplay Faber wields in her remarkably accomplished debut poetry collection."

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Dust or Fire is Alyda Faber's first book of poetry. Her poems have appeared in the Antigonish Review, Bitterzoet, Contemporary Verse 2, Ensafh. (Etc.), the Malahat Review, the Nashwaak Review, and the Puritan Review, as well as in a chapbook, Berlinale Erotik: Berlin Film Festival. She teaches at the Atlantic School of Theology in Halifax.

 
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Cover zur kostenlosen eBook-Leseprobe von »Ledi«

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Ledi

BookThug


Ledi, the second book by Vancouver poet Kim Trainor, describes the excavation of an Iron Age Pazyryk woman from her ice-bound grave in the steppes of Siberia. Along with the woman's carefully preserved body, with its blue tattoos of leopards and griffins, grave goods were also discovered—rosehips and wild garlic, translucent vessels carved from horn, snow-white felt stockings and coriander seeds for burning at death. The archaeologist who discovered her, Natalya Polosmak, called her 'Ledi'—'the Lady'—and it was speculated that she may have held a ceremonial position such as story teller or shaman within her tribe.

Trainor uses this burial site to undertake the emotional excavation of the death of a former lover by suicide. This book-length poem presents a compelling story in the form of an archaeologist's notebook, a collage of journal entries, spare lyric poems, inventories, and images. As the poem relates the discovery of Ledi's gravesite, the narrator attempts simultaneously to reconstruct her own past relationship and the body of her lover.

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"Ledi haunts across epochs. It is a raw embrace with the dead. Grappling observer, exquisite witness, and tender participant in excavation, dissection, and summoning, Trainor latches us to the glorious body's artifact and to what persists and to what is subsumed and substantiated after our ritual 'dig': a threnody of ghostly lingerings, ancestral earth and grasses, a Griffin tattoo, decaying traces, and a desert abloom. Ledi is unforgettable." —Sandra Ridley, author of the Griffin Poetry Prize shortlisted collection Silvija

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Kim Trainor's first poetry collection, Karyotype, was published in 2015. Her poetry has won the Gustafson Prize and the Malahat Review's Long Poem Prize, and has appeared in the 2013 Global Poetry Anthology and The Best Canadian Poetry in English 2014. She lives in East Vancouver.

 
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Merz Structure No. 2 Burnt by Children at Play

BookThug


In 1981 Jake Kennedy accidentally burnt down an abandoned house. Years later as an adult, he read a story about how Kurt Schwitters' "interior house-sculpture" ("Merz Structure No. 2") was destroyed in 1951 after some children playing with matches accidentally burnt the building down. This sad 'unmaking,' so similar in nature to his own haunting experience, became the inspiration for Merz Structure No. 2 Burnt by Children at Play, a collection of experimental poetry that explores the dynamic, if often unsettling, relationship between making and unmaking, bliss and pain, utterance and silence.

As diverse in form as they are in artistic/cultural references, the poems of Merz Structure No. 2 invoke an endless bounty of characters: the poet remembers Harold Ramis; Kafka summons the courage to tell his dad where to go; another tornado razes another small town; Yorick returns to run balls-out into the sea; Louise Bourgeois smashes a tea cup against one of her sculptures.

Readers who connect with Phil Hall’s artistic investigations in Killdeer and Lisa Robertson's clear-eyed take on humanity in Magenta Soul Whip will enjoy Kennedy's feeling examination of loss in Merz Structure No. 2 Burnt by Children at Play.

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Praise for Apollinaire's Speech to the War Medic by Jake Kennedy

"By turns unexpected, provocative, surreal and amusing."—Brent Wood for University of Toronto Quarterly

"Kennedy's style is stark but suggests much."— Jonathan Ball for Winnipeg Free Press

"For all the tight lyric cadence of [Kennedy's] poems [in Apollinaire's Speech to the War Medic], there is a lightness that moves at breathtaking speed, at breathtaking ease, leaping from point to point."—rob mclennan for Galatea Resurrects

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Jake Kennedy is the author of two poetry collections: The Lateral (2010) and Apollinaire's Speech to the War Medic (BookThug, 2011). His work has appeared in literary journals across Canada, the US, and the UK, including The Capilano Review, McSweeney's Internet Tendency, and The Awl. Kennedy is the recipient of the bpNichol Chapbook Award for Hazard (BookThug, 2007), the Robert Kroetsch Award for Innovative Poetry for The Lateral (2010), and the Robin Blaser Award for Poetry for the long poem "Futuromani" (2011). He also received a BC Arts Council Writing Grant in 2013. Kennedy lives in Kelowna, BC, where he teach English literature and creative writing at Okanagan College. Connect with Kennedy on his blog (shared with Kevin McPherson Eckhoff) www.gmorningpoetry.blogspot.com or on Twitter @GmorningPoetry.

 
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Standing in the Flock of Connections

Brick Books


Poems that skitter between life and death, “sleep and hurry,” at their heart a kind of tender panic. By turns funny, frank, mysterious, and heartbreaking, Standing in the Flock of Connections, Heather Cadsby’s fifth collection of poetry, is one hundred proof associative thought. These poems testify to the human mind’s capacity to “do”—taking into account all of the performative, causal, athletic, and sexual connotations of that verb. Many of them come in on an overheard conversation or monologue—mid-fight, mid-stride—and the absent details and specifics often function to open up a space for things to become other things, for the flock of connections to swarm. / I love a pentagram. You can draw that thing / all day freehand, sloppy. Five-star / hotels, movies, generals. Throw it around / like it was a love number, which it is. / Cut an apple horizontally, there it is. / Draw one inside its centre pentagon and so on / nesting smaller forever. Till you call it quits / and start singing Holy etc. / (from “Sunday geometer”)

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“…verse that demonstrates wit and levity as well as a seriousness at its heart … capable of blasphemy … an honest inquiry into life and the inherent duality of the moment.”

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Heather Cadsby was born in Belleville, Ontario and moved to Toronto at a young age. In the 1980s, along with Maria Jacobs, she produced the monthly periodical Poetry Toronto and founded the poetry press Wolsak and Wynn. Also at this time, she organized poetry events at the Axle-Tree Coffee House in Toronto and Phoenix: A Poet's Workshop. In recent years, she has served as a director of the Art Bar Poetry Series.

 
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Branches

Book*hug Press


Winner of the 2020 Nelson Ball Prize

Careful attention reveals that, even in moments that seem insignificant, our minds are constantly navigating disjunctions among registers of experience. Our intellect silently reminds our eyes that the car that appears to be moving between leaves is actually behind them and much larger. The sound of the vacuum cleaner in the next room is noise to be ignored. The phrase that arises in mind belongs to a conversation earlier in the day. Clear thinking demands that these navigations remain unconscious. But what if they're meaningful, or productive, in themselves? What if they're necessary to help us find a more meaningful place in the world? Branches explores these questions.

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"Branches will change you, and for that, at the very least, it deserves your full attention." —Robin Richardson, author of Knife Throwing Through Self-Hypnosis and Sit How You Want

"Mark Truscott's Branches is a unique and assured meditative work, at once ancient and wholly contemporary, a space where Stevens, Ashbery, and Basho might mingle and discover some as-yet unnoticed path. 'There are smooth surfaces it seems one can only buy,' Truscott adroitly observes. Branches is full of lines ready to take root and reward, allowing perception all its richness but also changing and transforming it with a graceful and almost natural pressure. Reader, these poems are the furthest thing from those surfaces." —Jeff Latosik, author of Dreampad

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Mark Truscott is the author of two previous books of poetry: Said Like Reeds or Things (2004) and Nature (2010), which was shortlisted for the ReLit Award for Poetry. Poems from Branches have appeared in Event, The Walrus and on the Cultural Society website (culturalsociety.org). Truscott was born in Bloomington, Indiana, and grew up in Burlington, ON. He lives in Toronto.

 
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Silvija

BookThug


Grief is personal and unpredictable; no two people experience it the same way, and yet, each person that comes out the other side is transformed by their experience of loss and redemption.

In a sequence of five feverish elegies, Sandra Ridley's Silvija combines narrative lyric and experimental verse styles to manifest dark themes related to love and loss: the traumas of psychological suffering (isolation and confinement), physical abuse (by parent and partner), terminal illness (brain tumour and heart attack), revelation, resolution, and healing. Pulsing with the award-winning writer's signature blend of fervour and sangfroid, the serial poems in Silvija accrue into a book-length testament to a grief both personal and human, leaving readers with the redemptive grace that comes from poetry's ability to wrestle chaos into meaning.

Because of its overarching themes and serial form, Silvija is best read cover-to-cover, analogous to a work of fiction, rather than a book of individual or occasional poems. In this way, and in dealing with timeless subjects of human significance, this book-length 'requiem for loss' bears comparisons to Anne Carson's Nox and Daphne Marlatt's The Given, and will resonate for the many people who have dealt with traumas of physical and mental illness, who have survived physical and/or emotional abuse, and who search for beauty after catastrophe.

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Praise for Silvija

"While the effect of Ridley's short phrases staccato and accumulate into a complex tapestry that refuses anything straightforward, the emotional content is raw, savage and brutally stark." —rob mclennan's blog

"Ridley achieves a remarkable feat by revitalizing the overused and bland imagery of death." —Jonathan Ball, Winnipeg Free Press

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Multiple-award-winning poet, instructor, and editor Sandra Ridley is the author of three books of poetry: Fallout (winner of a 2010 Saskatchewan Book Award and the Alfred G. Bailey Prize); Post-Apothecary (finalist for the ReLit and Archibald Lampman Awards); and The Counting House (published by BookThug in 2013; finalist for the Archibald Lampman Award and chosen as one of the top five poetry books of 2013 in Quill & Quire's Readers' Poll). In 2015, she was a finalist for the KM Hunter Artist Award for Literature. She lives in Ottawa.

 
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What Kind of Man Are You

Brick Books


What does it mean to be a man now? These poems’ answers are bold and deeply moving. The poems in Degan Davis’s debut collection, What Kind Of Man Are You, move between the title’s societal taunt (prove yourself) and its more tender and inquisitive question (how to be a man in this era?). Davis has guts; he trusts the voice of a poem to draw out those truths that in lesser hands might render us mute. The writing navigates the spaces between traditional male archetypes and 21st century possibilities, through the lenses of music, tribes, war, divorce, sex, and love.Davis is both impish and an old soul, and his poems are as comfortable riffing on big topics as they are when he’s maneuvering language with a musician’s cadence. As a result, the work is instantly engaging and thoroughly human. Why read Degan Davis? Because his work is full of joy. Because, to him, poetry matters.

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“… Rejecting both rhetoric and brute force as supreme, this book lives as equally in the heart as the mind. It’s had a drink or two with Lowell, Bly, and Carver. It's found a church of sorts in jazz and blues. As readers, we find ourselves witnessing this sensitive exploration during an historical moment in which What Kind of Man Are You may emerge as one of the most urgent questions.”

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“If you could strip us of our insolent and taciturn practices, deny us our drunken and garrulous escapes, and encourage our tongues to talk the truth, these are some of the things men might say about what, and how, they feel.”

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Degan Davis spent his childhood in Mattawa, Ontario, at the confluence of two rivers. He works as a Gestalt Therapist, both in a university setting and in private practice. Degan's poetry and non-fiction have appeared in such places as The Globe and Mail, The Malahat Review, Riddle Fence, and The New Quarterly. He is currently working on a collection of essays about masculinity, femininity, and how to be a good man in this era. He lived for many years in St. John’s and now lives in Toronto.

 
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Abschied von einer schönen Welt

tredition | Gedichte von Heribert Steger


Die nostalgisch-sehnsuchtsvollen Gedichte im 4. Band der Reihe "Gedichte von Heribert Steger" sind Ausdruck einer positiven Lebenshaltung auch angesichts der eigenen Sterblichkeit. Die Liebe zur Natur und Schöpfung und zu den schönen Seiten eines erfüllten Lebens kommen darin zum Vorschein.

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Walter Richard Maus wurde am 30.06.1919 in einer Handwerkerfamilie in Köln geboren. Nach seinem Studium der Medizin in Köln, Bonn und Erlangen machte er 1946 Staatsexamen und promovierte in Gynäkologie. In Aachen war er zunächst Kreisarzt. 1950 machte er sich als Naturarzt in freier Praxis selbständig. Nebenberuflich war er als Werksarzt zunächst bei Englebert, dann bei der Reifenfabrik Union Royal in Aachen tätig sowie als Betriebsarzt des Deutschen Roten Kreuzes. Im Jahre 1958 war er vier Monate lang Schiffsarzt bei der Ostasienlinie der HAPAG-Lloyd auf der MS-Frankfurt. Von 1972-1974 war er Oberarzt an der Buchinger Fastenklinik und 10 Jahre ärztlicher Direktor und Chefarzt am Wiedemann-Parksanatorium in Meersburg am Bodensee. Als Kneipparzt hielt er zahlreiche Vorträge im Kneipp-Bund über die Heilmethoden nach Pfarrer Sebastian Kneipp. Spezialisiert war er als Facharzt für Allgemein-Medizin, Badearzt, Geburtshelfer, Arzt für Naturheilkunde und Homöopathie, später auch Fastenarzt in zwei Fastenkliniken. Als Mitbegründer und zeitweise Vizepräsident der Internationalen Gesellschaft für Thymusforschung hat er sich einen Namen gemacht und auch sehr segensreich gewirkt als Ehrenvorsitzender auf Lebenszeit in der internationalen Ärztegesellschaft für Energiemedizin.

Mit seiner Ehefrau Erilies Maus, geb. Deku, die er im Januar 1946 standesamtlich und am 15.08.1946 auch kirchlich heiratete, bekam er fünf Kinder und hatte 9 Enkel.

Er starb im Alter von fast 83 Jahren am 19. Mai 2002 in Friedrichshafen am Bodensee.

 
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