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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 »Merz Structure No. 2 Burnt by Children at Play«

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Merz Structure No. 2 Burnt by Children at Play

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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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their biography

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Would it be possible to compose a book that appears to be "about" its author, but is indirectly about something else, like identity or relationships or language? Maybe a book not written by a hero... but by many?

This was the challenge taken up by Kevin McPherson Eckhoff in his fourth book, their biography: an organism of relationships. This collaborative memoir collages together word-portraits from friends, family, coworkers, strangers, robots, and even adversaries in order to create a silhouette of not a single person, but of the manacles that connect people to one another.

their biography is meant to make people think—it's broad array of voices and poetic/prosaic forms disturbs comfortable patterns of reading, and its subject is as much about the contributors as the author. Eclectic and desolate, confessional and dubious, this record of relationships defies authorship, biography, and individualism.

Fans of Gregory Betts's "Facebook Poem Project" or Rachel Zolf's Tolerance Project, along with anyone compelled by contemporary poetry and conceptual art, will connect with this pixelated investigation into identity, and the true meaning of 'self' as we and others define it.

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Praise for Kevin McPherson Eckhoff's Rhapsodomancy

"A feast for the eyes."—Broken Pencil

"Rhapsodomancy is simply great fun. And perhaps a lesson in alphabetical hubris.— Eclectic Ruckus

"A noteworthy example of Canadian visual poetry, easily joining the ranks of bpNichol."—The Mark

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kevin mcpherson eckhoff’s poetry has been described as having "purity, clarity, and intensity of emotion" while "[undermining] our common sense of language." Recent work appears in the anthologies Why Poetry Sucks and TAG: Canadian Poets at Play, and he co-edited the final issue of Open Letter with his best friend, Jake Kennedy. As the managing editor at Kalamalka Press, he runs the John Lent Poetry-Prose Award, a letterpress chapbook competition for emerging writers. For eight months of the year, he teaches at Okanagan College, and for the remaining four, he hides out at the Shuswap River or Starlight Drive-in or Rose Mountain with his Laurel and Lionheart. Connect with Kevin on his website, http://kevinmcphersoneckhoff.com/, or on Facebook at https://www.facebook.com/kevinmcphersoneckhoff.

 
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Cover zur kostenlosen eBook-Leseprobe von »KITH«

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KITH

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kith [noun] one's friends, acquaintances, neighbours, or relations.

In Kith, award-winning writer Divya Victor engages Indian-American diasporic culture in the twentieth century, via an autobiographical account that explores what 'kith' might mean outside of the national boundaries of those people belonging to the Indian and South East Asian diasporas.

Through an engagement with the effects of globalization on identity formation, cultural and linguistic exchange, and demographic difference, Kith explores questions about race and ethnic difference: How do 'brownness' and 'blackness' emerge as traded commodities in the transactions of globalization? What are the symptoms of belonging? How and why does 'kith' diverge from 'kin,' and what are the affects and politics of this divergence? Historically-placed and well-researched, Kith is an unflinching and simultaneous account of both systemic and interpersonal forms of violence and wounding in the world today.

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Praise for Kith:

"For Divya Victor, history is a wound. And the poet's language is bright like the white bandage on which blood shows more clearly. What we have on display in this book is an imagination that is as wide as the world. Part-anthem, part-instruction manual, part-memoir, part-dictionary, this text offers testimony to other ways of being and remembering, a reflection on forgotten lives. I read most of Kith in airplanes and airports, and found myself paying greater attention to everyone around me. I was grateful for Victor's long sentences that spilled into seemingly every corner of our contemporary reality—these sentences that describe so well our locked destinies and, at the same time, perhaps because of their wit, or vitality, or compassion, deliver us into liberated zones of heightened consciousness." — Amitava Kumar, author of A Foreigner Carrying in the Crook of His Arm A Tiny Bomb

Kith is a luminous work of "Multiple Telling with Multiple Offering," as Theresa Hak Kyung Cha might say, the dead flittering out of her thrifted coats with kith in their mouths. Kith, like neighbor, friend, enemy, or community, is a kind of conceptual limit, "not of blood and yet belonging"; not kin, which it is often confused with, but kindred, kinship, and also knowledge. Yet in Kith, it turns out that kith is also kin and kin is also kith and the neighbor is also friend, enemy, and the other neighbor's neighbor, and "we" are all stuck here at the limits of language grasping for new forms of community and belonging when those words suck too yet refuse to burn. Lodged within this "atlas of mangle" known as now-time is something at the helm of being named—Kith's offering, Kith's knowledge, Kith's open boat, Kith's astounding "shriek frightful." Where were you when it will happen?? —Rachel Zolf

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Divya Victor is the two-time Pushcart-nominated author of several books and chapbooks, including Natural Subjects (winner of the Bob Kaufman Award), UNSUB, and Things To Do With Your Mouth. Her chapbooks include Semblance, Hellocasts by Charles Reznikoff by Divya Victor by Vanessa Place, and SUTURES. She was born in southern India and lives in the US and Singapore, where she is Assistant Professor of Poetry and Writing at Nanyang Technological University.

 
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The Year of My Disappearance

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Winner of the 2016 Prix des Libraires

Winner of the 2016 Quebecor Prize for the Trois-Rivières Poetry Festival

Carole David's The Year of My Disappearance is a searing, surreal, darkly comic descent into a woman's psyche. From Governor General's Award winning translator, Donald Winkler, into English, comes this pitiless assault on the author's own torments and pretenses. Present here are figures lodged in her memory: lovers, strangers, her mother, and Bosch-like apparitions out of her dreams and imaginings. Through it all, a fierce combat is being waged between immolation and survival. As David has written, "I gave free range to the lives that dwelt within me." It's down this road the blind spot sings.

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Praise for The Year of My Disappearance:

"This sharp-witted poetry, knife blades at the ready, speaks of the landscape a woman may come to inhabit who is undone, overwhelmed by the violence to which any life is subject when weighed down by remembrances." —Hugues Corriveau, Le Devoir

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Poet, novelist, and short story writer, Carole David was born in Montreal, and holds a doctorate in French studies. She taught for many years at the college level. Her Manuel de poétique à l'intention des jeunes filles (2010), won the Alain Grandbois Prize, and was a finalist for the Governor General's Literary Award. Her most recent collection, L'année de ma disparition (2015), (The Year of my Disappearance), won the Prix des libraires, the Prix Québecor of the Trois Rivières International Poetry Festival, and was a finalist for the Grand prix de la ville de Montréal. She lives in Montreal, where she devotes herself to writing. Her books have been translated into English and Italian.

 
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Cover zur kostenlosen eBook-Leseprobe von »pet radish, shrunken, the«

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pet radish, shrunken, the

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In this post-lyrical era, poems can be stories, or they can just as easily be exuberant laughter set to words, an experiment in language, or an incidental collation of plays on a Scrabble board.

the pet radish, shrunken, the third full collection of poetry from the inimitable Pearl Pirie, deals in the poetics of sound, language, and play. In true Pirie style, this fresh, quirky, and clear-seeing collection speaks in a range of styles and voices: From a military convoy of turtles, to a Kafkaesque conversation with a houseful, to the dissection of a fruit machine, Pirie offers oulipo found speech as it integrates and disintegrates, plays with and tumbles through language.

Earning comparisons to Jenny Sampirisi's Croak and Leigh Kostilidis's Hypotheticals for their shared sense of linguistic playfulness and curiosity, the pet radish, shrunken will appeal to exploring minds who are ready to question language, society, and self while not minding a taint of grief and comedy that necessarily creeps in around the edges.

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Praise for the pet radish, shrunken

Quirky and fresh, playful yet serious, Pirie’s collection, the pet radish, shrunken, demands and activates new pathways of reason. These line-by-line lyrical segments both tantalize and take the reader down the rabbit hole (pulling rabbits out of hats along the way) with their semantic surprises and jumpy music. Pirie sees the world askew and brings the reader along for the ride. An invigorating collection. – CATHERINE GRAHAM

The poems collected in the pet radish, shrunken invite us equally into routine and catastrophic events. Pirie submits "we are always settling into a new now" and leads us through a life revised by the external and internal encounters of a day. With humour, play, and brass, Pirie revels in the daily ruckus of domesticity, verbatim conversations, and the language that must somehow hold a whole existence. – JENNY SAMPIRISI

In Pearl Pirie's poems, language ferments, foments a "vinegar vigour." Flipping the labels off contemporary mores, cooking with sound, she offers quick food for thought. Keep up with her if you can. – DAPHNE MARLATT

Precise riots of vowels and consonants rattle these poems. Pearl Pirie's lines burn with sonic-rich images: "kalimba of algae" and "tight loops of oops." Her verbal verve is rooted in an ecstatic attentiveness to language, both found and formal. Charged with innovative and lyrical energies, the pet radish, shrunken is a gorgeous rebellion. – EDUARDO CORRAL

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Pearl Pirie is the author of been shed bore (2010) and Thirsts (2011), which won the Robert Kroetsch Award for Innovative Poetry. Her poetry has been published in numerous literary journals, including filling Station, BafterC, Arc Poetry Magazine, Gusts, PRECIPICe, Dandelion, and This Magazine. Her poem "Summer Names" was shortlisted in the Best Canadian Poetry, 2014, and she made the 50-poem longlist for Best Canadian Poetry, 2011, for her poem "The First Mother's Day After Dad's Death." (Tightrope Books). Pirie's work has been included in several anthologies, focused on innovative poets, haiku, and other genres of writing. She has several chapbooks produced in Canada, France and Japan. She has produced two dozen titles under phafours press. Since 2009 she has managed the Tree Seed Workshop Series. Connect with Pirie on her website, www.pearlpirie.com, her poetry and poetics blog, http://pagehalffull.com/pesbo, or on Twitter @pesbo.

 
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The Witch of the Inner Wood

Goose Lane Editions


Winner, New Brunswick Book Award for Poetry

A Quill & Quire Best Book of the Year

Like the novella in fiction, the long poem is an oft-neglected form. Too long for publication in most literary journals and anthologies, too short to merit book-length publication, the long poem occupies a lonely space in literature. M. Travis Lane is a master of the form, in which her considerable poetic skills reach their apex. There are few that match her brilliance. This volume collects all of her long works — most of them now out of print — from a five-decade commitment to the art.

M. Travis Lane has long flown under the radar of Can Lit, crafting luminous poems and sharp literary criticism — much of it published in the Fiddlehead, one of Canada's premier literary journals — but in recent years her work has been drawing the attention it deserves. Evidence of this recognition is her 2015 Governor General's Award nomination for Crossover, a collection the still-vital poet published at the age of 81. Her poetry is modernist, dense, and highly allusive, drawing adeptly on classical and biblical sources, imbued with a feminist and ecocritical perspective. Her musical lines, vivid metaphors, and phenomenological acumen launch her into the company of such poetic luminaries as Don McKay, Jan Zwicky, and Tim Lilburn. In the long poetic form, these qualities reach their highest expression. This volume, an exquisite collection that brings together her long poems for the first time, constitutes an important addition to the canon of Canadian literature and to the canon of feminist literature in North America.

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"M. Travis Lane keeps the Aristotelian tradition in poetry: to move from lyric poetry to longer verse forms. Thus she has always done — with meet cadence, with right diction, with sweet wisdom. But the Collected Long Poems gather at long last her consistent achievement, her persistent excellence, her insistent, epic impulse. Lane accepts our collective debt to classical poets, the undead — deathless — bards of antiquity. The wording is precise, the imagery compelling, the verses supple. If you have not read Lane before, prepare to travel: like T.S. Eliot, she wants you to have a transporting experience in your imagination. If you i>have read Lane before, prepare for fresh astonishment. She is Homeric breadth and Sapphic brevity in this suite of superb poems."

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"With a multiplicity of voices, these poems offer a generously imagined theatre of the human. M. Travis Lane's The Witch of the Inner Wood is more than a rich, wide-ranging collection. Here is one of Canada's finest poets at work, revealing the power of her lyrical voice. A treasure of a book."

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"Canadian poetry has always had secret masters; poets who, without fanfare, deepened their style and vision — and extended the presiding genius of our tradition. M. Travis Lane is one of these figures. She has become, for our attitudinizing era, an especially powerful example of how emotional complexity and psychological depth aren't a matter of 'spontaneous overflow' but are built from lucid stanzas, uncompromising compression, and effective metaphors. These qualities can be seen in the astonishing long poems selected for The Witch of the Inner Wood, a book that will cement Lane's status as one of our most significant poets."

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"'You either go or you get sent.' If you've never thought of poetry as page-turner, wait till you delve into M. Travis Lane's masterful long poems, collected together here for the first time. Hypnotist, conductor, and hobgoblin, she liberates life from its usual haze, so we may consider it in the changing light — so we must. Almost any single line by Lane seals the case for the necessity of the lyric. This welcome volume reshapes the narrative around the Canadian long poem, placing one of our finest poets at the centre of the rise of this widely beloved form, now an essential component of our literature."

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M. Travis Lane is the author of sixteen books of poetry and has been widely published in literary journals as a poet and critic. She has won the Atlantic Poetry Prize, the New Brunswick Poetry Prize, the Pat Lowther Memorial Award, and the Bliss Carman Award. Her most recent book, Crossover, was a finalist for the Governor General's Award for poetry in 2015. She is a founding member, as well as Honorary President, of the Writers' Federation of New Brunswick. She also is a Life Member of the League of Canadian Poets, where she has participated vociferously in its feminist caucus. M. Travis Lane lives in Fredericton, New Brunswick.

 
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False Friends

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False Friends is the first full-length poetry collection from Stephen Cain in more than ten years. In it, he takes inspiration from the linguistic term "false friends"—two words from different languages that appear to be related, but have fundamentally different meanings. In this book are poems both humourous and unforgiving that Cain uses to explore errors, misapprehensions, and mistranslations and offer insights into the "secret operations" hiding within everyday language.

These poems spin punk with pastoral, comic book with lyric, the misunderstood with the obvious. And at its core, False Friends is a thought-provoking investigation of the power of poetry as political dicourse.

Praise for I Can Say Interpellation

"Parody with a healthy dose of moral outrage." —4 Mothers Blog

"Cain has the delightful way of spinning each tale to suit his purpose and the results are often as hilarious as they are uncomfortably recognizable." —Broken Pencil

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Praise for I Can Say Interpellation

"Parody with a healthy dose of moral outrage." —4 Mothers Blog

"Cain has the delightful way of spinning each tale to suit his purpose and the results are often as hilarious as they are uncomfortably recognizable." —Broken Pencil

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Stephen Cain is the author of a dozen chapbooks and five full-length collections of poetry, including dyslexicon (1998), American Standard/Canada Dry (2005), I Can Say Interpellation (BookThug, 2011), and Etc Phrases (BookThug, 2014). His academic publications include The Encyclopedia of Fictional and Fantastic Languages (co-written with Tim Conley; 2006) and a critical edition of bpNichol's early long poems: bp: beginnings (BookThug, 2014). Cain lives in Toronto, where he teaches avant-garde and Canadian literature at York University.

 
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Honestly

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The third book in a trilogy that explores the limits of individual expression, Honestly is an intimate, quiet, and unresolved little book about talking and listening.

It begins with research into a forgotten relative who was kicked out of the author's family after he was jailed for conscientious objection to WWII, and who then moved to New York to become a composer. From there the poem swerves into a series of minor-key personal anecdotes, interlaced with conversations with friends about work and relationships. Throughout, communication is framed by the economics and psychology of the home. Dialogue takes place in close quarters—constrained by money, space, ego, and empathy.

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Praise for Honestly:

"Steven Zultanski is a great raconteur. In Honestly, he loquaciously monologues about everything from municipal corruption to asparagus horticulture with charm and authority. But this prose-like poem isn't merely a filibuster. As it unfolds, Honestly spirals closer and closer to the silence behind speech.” —Chris Kraus, author of I Love Dick and After Kathy Acker

"Steven Zultanski is in love. 'When I was a boy I compulsively told my parents I loved them,' he informs us, then adds: 'I still have that compulsion.' With Honestly, Zultanski has written a deft, side-winding love poem (a true love poem) to urban life, with its apartment banalities and moving days, worried friends and fresh cuddlefests, troubled family history and film lore. He loves, we learn, in fits and starts, through compulsions and diversions, with a wry eye on the plain, everyday things—those 'details in stories traversed with other details'—that shine when they are remembered and held close. Honestly gives us what we seem to need most: the real and the true." —Andrew Durbin, author of MacArthur Park and Mature Themes

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Steven Zultanski is the author of five books of poetry, most recently On the Literary Means of Representing the Powerful as Powerless (2017) and Bribery (2014). His critical writing has appeared in 4 Columns, Art in America, the Los Angeles Review of Books, Mousee, and elsewhere. In January 2017, an art exhibition inspired by his book Agony (published by BookThug in 2012) entitled You can tell I'm alive and well because I weep continuously was shown at the Knockdown Center in Queens. Steven lived for many years in New York City but now resides in Copenhagen, Denmark.

 
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The Nonnets

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Compulsively confessional and cracking-wise, The Nonnets is an utterly unique alchemy of poetry and comedy.

Aaron Giovanonne's latest collection is a book-length sequence of 'nonnets'—nine-line poems that Giovannone handles with ruthless dexterity. Capturing transformations from first dates to goodbye texts, from mama’s boy to unrepentant shoplifter, from post-industrial downtown to eleventh-century Italian monastery, these poems present a kaleidoscopic world that careens wildly between despair and ecstasy.

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Praise for The Nonnets:

"Often hilarious, always poignant, Aaron Giovannone's The Nonnets scoop up handfuls of life and buoy them into air. These poems are to the heart as angel food cake is to the mouth." —Larissa Lai, author of When Fox is a Thousand and Automaton Biographies

"With the poetic dexterity of a maestro, Aaron Giovannone's The Nonnets takes us on a hilarious and unpredictable journey. If these amazing poems don't make you think about how wondrous and doomed we are, if they don’t make you laugh and cry, then you are dead inside." —Adam Dickinson, author of The Polymers, finalist for the Governor General's Literary Award for Poetry and the Trillium Book Award for Poetry

"There’s a marvellousness in every single one of Aaron Giovannone's magic nonnets: exquisite, surprising, crystalline bursts of light. The Nonnets is a book of the marvellous—its beauty and intelligence astound me." —Jake Kennedy, winner of the Robert Kroetsch Award for Innovative Poetry and author of Apollinaire’s Speech to the War Medic and Merz Structure No. 2 Burnt by Children at Play

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Aaron Giovannone's poems have been published widely in journals across Canada and the US, and his nonfiction has appeared or is forthcoming in The Walrus, Brick, and Vice. Originally from St. Catharines, Ontario, Aaron has a Ph.D. in English Literature and Creative Writing from the University of Calgary and has lived in Italy, including a year as a visiting scholar at the University of Siena. He is the author of a previous collection of poetry titled The Loneliness Machine. Aaron splits his time between Calgary and the Okanagan Valley, where he teaches literature and writing at Okanagan College.

 
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