Book*hug Press
To devote oneself to the study of beauty is to offer footnotes to the universe for all the places and all the moments that one observes beauty. I can no longer grab beauty by her wrists and demand articulation or meaning. I can only take account of where things touch.Part lyric essay, part prose poetry, Where Things Touch grapples with the manifold meanings and possibilities of beauty.Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human existence. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature, and the various non-human worlds that surround us.Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover. Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.
When life is upended, what do you do? Do you remain as you were, trapped in a form of stasis? Or do you accept your losses and move forward? These questions and more are the heart of The Handsome Man.These linked stories follow several years of the life of a young man as he is drawn around the world: from Toronto to Montreal, New York, Ohio, New Mexico, British Columbia, Berlin, Rome, and Northern Ontario, along the way meeting hippies, healers, drinkers, movie stars, old friends, and welcoming strangers. He isn't travelling, however; he's running away. But as far and fast as he runs, the world won't let him disappear, and each new encounter and every lost soul he meets along this journey brings him closer and closer to certain truths he'd locked away: how to trust, how to live in this world, and most of all, how to love again.
Juxtaposing the diction of surrealism with Ovid, Callimachus, and popular music—punk and new wave—the poems in Beloved Revolutionary Sweetheart concern themselves with various aspects of Eros.From wistful romance to explicit sex, these poems are inspired by the troubadour poets of Provence and Italy, and invoke such historical figures as the Byzantine Empress Theodora and her husband, Emperor Justinian, not to mention the Countess of Dia—Beatriz—a major poet of the troubadour tradition; these are Hausner's "alter voices," expressing permutations of presence, absence, conquest, and loss.Beloved Revolutionary Sweetheart reaches back through the millenia to create an unexpected, unconventional, and contemporary exploration of one of humanity's oldest pleasures.
Nought, the new poetry collection by Governor General's Literary Award finalist Julie Joosten, explores the intersections of body, identity, and love in poems that grapple with mysteries of neurology and metaphysics. Here the materiality of the body and experience have transformed into a language, a thought that resides in and between bodies. Throughout, Joosten masterfully engages with form and rhythm, crafting work that is intimage and perceptive, pulsing with life.
Spawn is a braided collection of brief, untitled poems, a coming-of-age lyric set in the Mashteuiatsh Reserve on the shores of Lake Piekuakami (Saint-Jean) in Quebec. Undeniably political, Marie-Andrée Gill's poems ask: How can one reclaim a narrative that has been confiscated and distorted by colonizers?The poet's young avatar reaches new levels on Nintendo, stays up too late online, wakes to her period on class photo day, and carves her lovers' names into every surface imaginable. Encompassing twenty-first-century imperialism, coercive assimilation, and 90s-kid culture, the collection is threaded with the speaker's desires, her searching: for fresh water to "take the edge off," for a "habitable word," for sex. For her "true north"—her voice and her identity.Like the life cycle of the ouananiche that frames this collection, the speaker's journey is cyclical; immersed in teenage moments of confusion and life on the reserve, she retraces her scars to let in what light she can, and perhaps in the end discover what to "make of herself".
What does it mean to say "I love you"?Ariadne is a single, fortysomething writer and mother embroiled in an affair with a married man. At the core of her current manuscript, a book about the declaration of love, is the need to understand why: why her lover has returned to his wife, why their relationship still lingers in her mind, why she's unable to conquer her longing. To make ends meet while writing, she joins a research study in which she's paid to live with an AI device called Dirk.But the study quickly enters uncharted territory. Capable of mapping Ariadne's brain—and, to some extent, reading her mind—Dirk calls into question issues of both privacy and consciousness: how we communicate our thoughts to others, what it means to embody our desires, and whether we ought to act on them.
day/break, poet Gwen Benaway's fourth collection of work, explores the everyday poetics of the trans feminine body. Through intimate experiences and conceptualizations of trans life, day/break asks what it means to be a trans woman, both within the text and out in the physical world. Shifting between theory and poetry, Benaway questions how gender, sexuality, and love intersect with the violence and transmisogyny of the nation state and established literary institutions. In beautiful lyric verse, day/break reveals the often-unseen other worlds of trans life, where body, self, and sex are transformed, becoming more than fixed binary locations.
Some secrets never die...Priya and Alexandra have moved from the city to a picturesque countryside town. What Alex doesn't know is that in moving, Priya is running from her past—from a fraught relationship with an old friend, Prakash, who pursued her for many years, both online and off. Time has passed, however, and Priya, confident that her ties to Prakash have been successfully severed, decides it's once more safe to establish an online presence. In no time, Prakash discovers Priya online and contacts her. Impulsively, inexplicably, Priya invites him to visit her and Alex in the country, without ever having come clean with Alex about their relationship—or its tumultuous end. Prakash's sudden arrival at their home reveals cracks in Priya and Alex's relationship and brings into question Priya's true intentions. Seductive and tension-filled, Polar Vortex is a story of secrets, deceptions, and revenge. It asks readers: Are we ever free from our pasts? Do we deserve to be?
Is it possible to archive the invisible symptoms of an illness? Is the archive emotional? Emmalea Russo's Wave Archive moves between essay and poetry while also pondering the mind-body connection and the unreliability of thought patterns and histories. Here, Russo invokes her own experiences with seizures, photographs and art-making, archival and indexical processes, brain waves, and the very personal need to document and store while simultaneously questioning the reliability of memory and language. Drawing upon the history of epilepsy in both ancient and modern brain treatments, Wave Archive disrupts and restores the archive over and over again, exploring the very edges of consciousness.
At the book fair in Rimouski, a woman picked up my first book to read the back cover. She put it back down, avoiding my eyes. It's heavy, cancer and death and all that. I wish books were more interactive. Like video game controllers. They could vibrate at the end of each chapter. But that's not how life works. I wonder what death is like. Do you vibrate? Do the words GAME OVER appear?In 2012, Vickie Gendreau was diagnosed with a brain tumour and wrote a book narrating her own death. Testament could have been Gendreau's first and only novel, but she kept writing, furiously, until the very end.Published after Gendreau's death in 2013 at age 24, Drama Queens continues her exploration of illness and death that began in Testament, but with even greater urgency and audacity. In her singular voice, Gendreau mixes genres and forms, moving from art installations to fantastical little films to poetry, returning again and again to a deeply raw and unflinching narrative of her increasingly difficult days.With rage, dark humour, and boundless spirit and imagination, Drama Queens, translated by Aimee Wall, records the daily life of a young woman living with a failing body, the end in sight, and still so much to say.
Amidst the dangers of figurative language, the coercion of sentimentality, and the insidious freight of abstraction, these poems embody the necessity for the critical, the communal, the real. Are the Rivers in Your Poems Real uses conceptual critiques of public discourse and experimental social cartographies, as well as lyrics of intimacy, to defy prescribed ways of being. This is an act of resistance against dangerous and domineering narratives, and the power they inscribe.
Symphony No. 3 follows the life of renowned French composer Camille Saint-Saëns as he ascends from child prodigy to worldwide fame. As his acclaim grows in Paris, the musical world around him clamours with competitors, dilettantes, turncoats and revenge seekers. At the height of his success, Camille leaves everything behind to embark on a Dantean quest for his dead lover, Henri. At the end of this adventure, still haunted by the holes in his past, he takes up an invitation to journey by ocean-liner to the New World.Finely crafted in its own unique rhythmic language, Symphony No. 3 is cast in four sections to mirror Saint-Saëns's famous work, popularly known as the Organ Symphony. Written and performed in London England in the infamous late 1880s, this was the composition he hoped would finally destroy Beethoven's stranglehold on the industry and reinvent the form. Though set in the decades surrounding the fin de siècle, Symphony No. 3 speaks directly to our present moment and the rise of political violence.
In Vancouver for Beginners, the nostalgia of place is dissected through the mapping of a city where readers are led past surrealist development proposals, post-apocalyptic postcards, childhood landmarks long gone and a developer who paces at the city's edge, shoring it up with aquariums.In these poems you will traverse a city lined with rivers, not streets. Memory traps and tourist traps reveal themselves, and the ocean glints, elusive, in the background. Here there are many Vancouvers and no Vancouver, a city meant for elsewhere after the flood has swept through. This place of the living and the dead has been rewritten: forests are subsumed by parks, buildings sink and morph, and the climate has changed.Vancouver for Beginners is a ghost story, an elegy, a love song for a city that is both indecipherable and a microcosm of a world on fire.
Rather than making "something" out of "nothing," what follows is an endeavour to express the potential of language and thought to encounter what is infinitely beyond both yet to be imagined.In The Nothing That Is, Johanna Skibsrud gathers essays about the very concept of "nothing." Addressing a broad range of topics—including false atrocity tales, so-called fake news, high-wire acts, and telepathy, as well as responses to works by John Ashbery, Virginia Woolf, Anne Carson, and more—these essays seek to decentre our relationship to both the "givenness" of history and to a predictive or probable model of the future.The Nothing That Is explores ways in which poetic language can activate the possibilities replete within our every moment. Skibsrud reveals that within every encounter between a speaking "I" and what exceeds subjectivity, there is a listening "Other," be it community or the objective world.
Winner of RBC Bronwen Wallace Award for Emerging Writers Winner of CBC Poetry PrizeFrom hybrid bodies to shifting landscapes, Re-Origin of Species blurs the lines of the real. These poems journey through illness and altered states to position disability and madness as evolutionary traits; skilled adaptations aligned with ecological change.A lyric contemplation of our relationship to the environment, this book looks at the interdependence of species. Weaving personal narratives with a study of the insect kingdom, it draws parallels between human illness, climate change, and the state of peril in the natural world.
Mobile is an uncivil feminist reboot of Dennis Lee's Civil Elegies and Other Poems; an urban lament about female citizenship and settler culpability; an homage to working and walking women in a love/hate relationship with Toronto, its rivers and creeks, its sidewalks and parks, its history, misogyny and violence. How do we, in Lee's words, see the "lives we had not lived" that "invisibly stain" the city? What are the sexual politics of occupying space in a city, in a workspace, in history? How can we name our vulnerabilities and our disasters and still find strength?Written in a slippery mix of lyric and experimental styles, Mobile is MacDonald's grouchiest book yet.
Fanny, a seventeen-year-old high school senior, has lost both her parents in a car accident. Granted permission to live independently in the family home located on the outskirts of a small Norwegian town, she passes the days performing her unchanging routine: going to school, maintaining the house, chopping and stacking wood, and keeping the weeds at bay. As Fanny grieves and attempts to come to terms with the sad circumstances of her life, a fairy tale-like world full of new possibilities begins to emerge around her.Written by Rune Christiansen, one of Norway's most exciting literary talents, and masterfully translated by Kari Dickson, Fanny and the Mystery in the Grieving Forest is a beautiful, poetic portrait of grief, friendship, independence, and transgression.
Two sex addicts meet and fall in love. A woman catches her husband cheating on her with their dog and escapes to her sister's horse farm. Four friends—fellow pervs—grow up and drift apart, pining for each other in silence until one of them is murdered.In Jess Taylor's sophomore story collection, contemporary views of female sexuality are subverted, and women are given agency over their desires and bodies. Through these characters, sex is revealed to be many things at once: gross, shameful, exhilarating, hidden or open—and always complicated. Reminiscent of the works of Maggie Nelson, Mary Gaitskill and Chris Kraus, the stories in Just Pervs explore the strange oppression and illumination created by desire, the bewilderment of adolescence, and the barriers to intimacy both discovered within and imposed upon ourselves.
Now I've killed another person. I'm a serial killer. Sure, two people is hardly serial, but it's a good start. I'm still young. Who knows where opportunities might lead me? Opportunity makes the thief, or the murderer, or even the pastry chef. It's well documented.Mama's Boy Behind Bars is the second book in David Goudreault's wildly successful and darkly funny Mama's Boy trilogy. Once again written with gritty humour in the form of a confession, Mama's Boy Behind Bars picks up where the first book in the series left off.Mama's Boy finds himself in jail following a tender and violent search for his long lost mother. In an attempt to survive his incarceration, he sets out to make a name for himself in prison and is desperate to achieve his ambition of joining the ranks of the hardcore criminals. But things get wildly complicated when he falls in love with a prison guard. Can Mama's Boy juggle love and crime?
In that moment, I felt closer to whiteness than not. I was completely complicit and didn't think twice about entering a space that could cover their walls with images of contemporary Indigenous perspectives, but exclude their physical bodies from entering and experiencing. In that moment, I felt like a real Canadian.Before I Was a Critic I Was a Human Being is the debut collection of nonfiction essays by Amy Fung. In it, Fung takes a closer examination at Canada's mythologies of multiculturalism, settler colonialism, and identity through the lens of a national art critic.Following the tangents of a foreign-born perspective and the complexities and complicities in participating in ongoing acts of colonial violence, the book as a whole takes the form of a very long land acknowledgement. Taken individually, each essay roots itself in the learning and unlearning process of a first generation settler immigrant as she unfurls each region's sense of place and identity
Throughout their youth, Columpa Bobb and Tania Carter wrote poetry with their mother, award-winning author Lee Maracle. The three always dreamed that one day they would write a book together. This book is the result of that dream.The wide-ranging poems in Hope Matters focus on the journey of Indigenous peoples from colonial beginnings to reconciliation. But they also document a very personal journey—that of a mother and her two daughters.Written collaboratively, Hope Matters offers a blend of three distinct and exciting voices that come together in a shared song of hope and reconciliation.
Where, the Mile End, Irish poet Julie Morrissy's debut collection, embodies an energetic lyricism that whips through Europe and North America with humour, curiosity and a distinct edginess. Morrissy's lines track emotional, physical, and geographical change, as she intimately links the vitality of two continents: the snow, the streets, the sensual memories. Where, the Mile End reimagines the places we inhabit, the moments we remember, the things we long for.
Finalist for the 2018 Governor General's Literary Awards: La dévoration des fées by Catherine Lalonde (French Language Category) Winner of the 2018 Prix Alain-Grandbois de l'Academie des lettres due Quebec Finalist for the 2018 Grand Prix du Livre de Montréal A modern-day fable and feminist bildungsroman, The Faerie Devouring tells the story of the sprite, her absent mother (who dies in childbirth), and a brood of fatherless boys all raised by Gramma, a stalwart matriarch and wicked faerie godmother. From her rural childhood with its crudeness and toil to an urban rebellion with its glittering pleasures, the sprite struggles with and ultimately overcomes the burden of genealogy. A literary spell cast by the daring and critically-acclaimed Quebecoise author Catherine Lalonde and reimagined by the award-winning poet and translator Oana Avasilichioaei, this feral incantation comes alive through disenchantment, desire, phantasmagoria, defiant imagination, and unruly language.