The Daring of Paradise reconfigures stories and images from both multiple religions and from fairy tales, cracking them open to release new light. Poems probe the intense devotion in the letters of Paul and the sensuality shimmering within the traditions of Christianity, Judaism, Hinduism, Buddhism, and Islam. They cast lines across religious divides, gather elements of incarnate spirituality, and consider how, in our present moment, religion might speak to the body of the Earth. Both contemplative and provocative, The Daring of Paradise reveals a world shot through with desire and expands the ambit of devotional poetry, listening to "that polished emptiness pressing upon speech" and the "illicit locutions sung and fluted / through the back alleys of heaven."

Heather Christle has just lost a dear friend to suicide and now must reckon with her own depression and the birth of her first child. As she faces her grief and impending parenthood, she decides to research the act of crying: what it is and why people do it, even if they rarely talk about it. Along the way, she discovers an artist who designed a frozen-tear-shooting gun and a moth that feeds on the tears of other animals. She researches tear-collecting devices (lachrymatories) and explores the role white women's tears play in racist violence. Honest, intelligent, rapturous, and surprising, Christle's investigations look through a mosaic of science, history, and her own lived experience to find new ways of understanding life, loss, and mental illness.

This collection of Emily Dickinson's work contains 444 of the nearly 1,800 poems that the prolific yet reclusive American poet privately penned during her lifetime. Although her bold and non-traditional writing style met with mixed reviews when first published, Dickinson is now considered one of America's greatest poets. Included here are such famous poems as "Because I could not stop for Death", "I'm nobody! Who are you'", and "Hope is the thing with feathers". Themes of love, loss, death, and immortality imbue Dickinson's work with a timeless quality; her unconventional poetry continues to provide insight into the human condition. This is an unabridged compilation of three series of Dickinson's poetry edited and published by her friends after her death-the first series in 1890, the second in 1891, and the third in 1896.

Winner of the 2010 A. M. Klein Poetry Prize Shortlisted for the 2010 Griffin Poetry Prize Descartes asked, How can I know that I am not now dreaming? The Certainty Dream poses similar questions through poetry, but without the trappings of traditional philosophy. Kate Hall’s bracingly immediate, insistently idiosyncratic debut collection lays bare the tricks and tools of her trade: a mynah bird perches in poems but 'stands for nightingale'; the poet’s antelope turns transparent; she dresses up her orange trees with bark and leaves. As the dream world and the waking world blur, the body and the dimensions it inhabits become a series of overlapping circles, all acting as containers for both knowledge and uncertainty. At times disarmingly plainspoken, at others, singing with lyric possibility, these poems make huge associative leaps. Taken together, they present the argument that to truly 'know' something, one must first recognize its traces in something else. 'Kate Hall unites philosophy and wisdom - without forgetting the chipotle-lime mustard.' – Montreal Review of Books 'The Certainty Dream weaves its way through absurdist outbursts and giddy indulgences of graduate-level philosophy while remaining rooted in the immediacy and, yes, the certainty of everyday life ... Hall’s poems unfold with wit, colourful layers and no overwhelming sense of ego or pomp.' – The Dominion 'These are profoundly perfect poems.' – Eye Weekly 'A whimsical and enlightening riff on the philosophic nature of knowing ... Hall's imagination liberates language and subject at every blink.' – Winnipeg Free Press

Surrounded by sea, sun, and Capri's natural splendors, Neruda addressed these poems to his lover Matilde Urrutia. This complete collection has become a classic for love-struck readers around the world, passionately sensuous and exploding with all the erotic energy of a new love.

These poems test the capacity of individuals, families, communities, and the earth itself to stand the pressures of modern life. They walk the tightrope over the chasm between male and female, love and hate, child and adult, war and peace, and now and forever, attempting to find balance and reconcile the one with the many.

First published in 1985, when Daniel Jones was just 26, The Brave Never Write Poetry, the poet/critic/novelist's lone collection of poems, was a cult hit, turning 'poetry' on its head before its author (then known simply as 'Jones') swore off verse entirely. Written in a direct, plainspoken, autobiographical and at times confessional style in the tradition of Charles Bukowski and Al Purdy, these confrontational poems about sex and boredom, drugs and suicide, document Jones' depressive, alcoholic years as an enfant terrible. This long-overdue revised edition brings Jones' unforgettable voice to a new generation of readers and includes the complete text of the original collection (including Jones' own sardonic assessments of his own poetry), a new preface by poet/critic Kevin Connolly, and postscript commentary from many of Jones' closest friends and literary colleagues.

Under the sugar maples of Montreal, family life is given mythic dimensions
in this sweeping novella-in-verse.

If Dionysus and Ariadne lived in Montreal in the late twentieth century, would he serve veal stuffed with apples and paté de fois gras? Coach nubile young singers in a performance of L’Orfeo? Would Ariadne’s thread be fashioned into tapestries of furious elegy in the face of environmental catastrophe? Would their marriage survive?

Amid a fictional marriage in a state of malaise and a real world on the edge of environmental disaster, Guttman lays open moments of vexation and tenderness, of grief, guilt, betrayal and love. Sounding through these moments are the harpsichord and the loom, drawing Donny and Ari, their sons Stephan and Onno, their corgie and their parrot, into the long weave of myth, art and human history.

Donny envies her the order of her threads, neatness of the loom, palettes of skeins piled
high. Compare this to the score he must unwind, ingest, to play by heart. The orchestra
accompanying the voices is Orfeo’s lyre.
—from “Rehearsals: Mastery”

Praise for Naomi Guttman:

“Richly detailed, passionate, witty, despairing, and brave, the lyric force of these poems conveys most of all a deep knowledge and love of a complex but recognizable world.” — Peter Meinke

Granddaughters, asters, Medea cakes, para pom tandle, Mrs. Roker raking, Caraquet, angelic recurrence, Neruda, zupzupzup, the high bush cranberries, the Somme, a waterfall in Iceland that cries by the thousandsful, the Strawberry Shaman and the Japonica Bushelful Bountiful Lady: you would never mistake a Colleen Thibaudeau wordscape for any other. Her poems might have been written just after the imagination was invented. So lithe and playful, so naturally leaping even in elegy, they would seem like fabulous accidents if Colleen hadn't been making them, with no loss of freshness, for over forty years. There is a lifetime of poems in this book.