Michael Mirolla's poetic world is one where a mirror, or any simple reflective item is tilted ever so slightly, providing an opening to places we never imagined existed. (One of them is his own birth, from the inside, looking reluctantly out.) The poet is a metaphysical detective, finding the cracks and gashes that open into other worlds. Uncomfortable in the here and now, he would rather spend time in the past/future, or on the edge of that mirror. Luckily for us, shaped by his reflective, polished imagery, all those worlds are fascinating places to visit, doing a brief meet-and-greet with his myriad ghosts.

"Leyendas y arquetipos del Romanticismo español is an introduction to nineteenth-century Spanish literature with a thematic focus on legends and archetypes. It presents Romanticism in the context of nineteenth-century literary and social movements. It is designed as a first anthology for intermediate Spanish students at American universities. Although brief, it includes poetry, drama in verse and short story. The works have been selected for their literary interest and the social importance of their themes. They are all by canonical authors"--BC Campus website

Tuning a fine ear to Lawrence’s letters from 1906 until his death in 1930, Barry Dempster’s poems uncover the man within the myth and give voice to Lawrence’s passionate mortality. Dempster’s act is one of imagination and homage, a kind of lyrical readership which traces the life-and-death line in a great writer’s life, with its constant illness and energy, a line “green as the vein of a young man’s desire.” In this book, Barry Dempster, acclaimed as a writer of short fiction and novels as well as poetry, extends his range and the genre of poetry itself.

Let Them Eat Chaos, Kate Tempest's new long poem written for live performance and heard on the album release of the same name, is both a powerful sermon and a moving play for voices. Seven neighbors inhabit the same London street, but are all unknown to each other. The clock freezes in the small hours, and one by one we see directly into their lives: lives that are damaged, disenfranchised, lonely, broken, addicted, and all, apparently, without hope. Then a great storm breaks over London, and brings them out into the night to face each other-and their own last chance to connect. Tempest argues that our alienation from one another has bred a terrible indifference to our own fate, but she counters this with a plea to challenge the forces of greed which have conspired to divide us, and mend the broken home of our own planet while we still have time. Let Them Eat Chaos is a cri de coeur and a call to action, and, both on the page and in Tempest's electric performance, one of the most powerful poetic statements of the year.

Les jours tigrés sont la chronique d’un double deuil, chacun raidissant la douleur de l’autre, l’empêchant de se liquider dans la vie qui reste. Mais il faut penser à l’avenir, le sentir, le refaire et accueillir toutes les bouées de vigueur, d’émerveillement retrouvé, les souligner. La poésie est un piège et un miroir à émerveillement, à extase et comme une façon de maganner la peine comme la salade, pour qu’elle parte, de guerre lasse, quand on trouve la formule magique, l’équation. Laisser passer aussi : l’écriture agit comme l’eau.

Le soubresaut d’un homme muré dans son chagrin, au moment de fouiller ses poches en quête de signes vitaux, telle est l’amorce de cette méditation. Et qu’on me pardonne de vendre la mèche au bout de l’équipée que ce livre déploie, d’éventer le triomphe à l’arrachée de la vie sur la mort, à l’âge où le désir de faire un enfant s’impose comme une orchidée sur la pierre de nos ruines.

2007 Winner of the Pat Lowther Award and a Lambda Literary Award If you open your mouth, ache. If you don’t open your mouth, swelter. If you open your mouth but hold your breath, ether. If you look for colour, coral and tea leaves. If you follow the moon, wet and concrete. If you cling to the earth, pistol and candy apple. If you give up your garden, maze and globe, hydrangeas and moon vines. If you lose your shoes, pumice and strain. If you have no money, tin and clang. As meditative practices focus on the axis of breath, these poems focus on the moment of action, of thought, on the flux of speech. This is a poetry not of snapshots or collages but of long-exposed captures of the not-so-still lives of women. One sequence imagines Virginia Woolf’s childhood; another unmakes her novel The Waves by attempting to untangle its six overlapping narratives. Yet another, ‘On the Scent,’ makes us flâneurs through the lives of a series of contemporary women, while ‘The River Is All Thumbs’ uses a palette of vibrant repetition to ‘paint’ a landscape. Queyras’s language – astute, insistent, languorous – repeats and echoes until it becomes hypnotic, chimerical, almost halluncinatory in its reflexivity. How lyrical can prose poetry be? How closely can it mimic painting? Sculpture? Film? How do we make a moment firm? These ‘postmodern,’ ‘postfeminist’ poems pulse between prose and poetry: the line, the line, they seem to ask, must it ever end? ‘Laced with Virginia Woolf-inspired content, Queyras cultivates a rhythm that rocks the reader through a frontier map of the twenty-first century woman ... Lemon Hound's unique rhythms provide immediate gratification while its layered substance affords greater fulfillment with each reading.’ – Verse

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.

One of the great innovators in American letters, Walt Whitman created a daringly new kind of poetry that became uniquely American. Written in a pure, uninhibited style with a joyous voice, Leaves of Grass is his masterpiece.