Nothing Could Be Further from the Truth
At the threshold between perception and reality is a labyrinth, stalked by who you think you are, who others think you are, and who you want to be. Evans’s darkly humorous and speculatively tragic collection of stories is peopled by such strays — those struggling with the isolation of nostalgic consumption, the self-sabotage of trauma denial, and easy acquiescence to fragile masculinity. Where resignation and reinvention are a breath apart, where the worldless and otherworldly meet, nothing could be further from the truth.
Christopher Evans (he) is a writer, editor, and teacher, whose work has appeared in EVENT, The Literary Review, and Best Canadian Poetry and has been shortlisted for the Commonwealth Short Story Prize. He lives in Vancouver, BC, with his partner and daughter. Nothing Could Be Further from the Truth is his debut collection.
Short fiction · Trade paperback · Editor: Sanchari Sur
Recombinant Theory is a collection of radical critical essays, constructed by applying cut-up techniques and rigorous formal and conceptual constraints to the complete works of ten contemporary poet-theorists: Annharte, Charles Bernstein, Christian Bök, Johanna Drucker, Lyn Hejinian, Steve McCaffery, Erín Moure, Sawako Nakayasu, Lisa Robertson, and Fred Wah. Unsettling the ways in which we perceive and construct textual meaning, these essays both describe and demonstrate an anti-authoritarian mode of reading and writing, disrupting the academic industry of re-presentation to propose a new practice of critical collaboration.
Joel Katelnikoff (he) holds a PhD from the University of Alberta. His recombinant essays have been published in English Studies in Canada, Canadian Literature, Minor Literature[s], Art + Research, The Notre Dame Review, The Polish Journal of American Studies, and Poetry is Dead and by the Centro de Cultura Digital.
Nonfiction · Trade paperback · Editor: Erín Moure
Shifting Baseline Syndrome
Shifting Baseline Syndrome is a searching and searing collection of poems, veering between history and prophecy, satire and sincerity, acid trips in portapotties and odes to South Florida. The TV remote is never far. Awe at our human and non-human world clashes ecstatically with loathing for those who destroy it. Histories geological, hydrological, and Jewish loom. Whether loudly political or quietly subversive, whether line broken or cascading across the page in exuberant paragraphs, Kreuter's poems declare the same nostalgia-shattering message: the way the world was when we were young is not how the world should be now.
Aaron Kreuter (he) is the author of the short story collection You and Me, Belonging (2018) and the poetry collection Arguments for Lawn Chairs (2016). He lives in Toronto, where he is assistant fiction editor at Pithead Chapel. Shifting Baseline Syndrome is his second book of poems.
Poetry · Trade paperback · Editor: Catriona Wright
Sydney Warner Brooman
The small southern Ontario town known as The Pump lies at the crossroads of this world’s violence — a tainted water supply, an apathetic municipal government, the Gothic decay of rural domesticity — and another’s. In Brooman's interconnected stories, no one is immune to The Pump’s sacrificial games. Lighthouse dwellers, Boy Scouts, church camp leaders, love-sick and real-sick writers, nine-year-old hunters, art-eaters — each must navigate the swamp of their own morality and the prospect of living on land that is always slowly (and sometimes very quickly) killing them.
Sydney Warner Brooman (they) was born in Toronto, Ontario, and raised across the lake in Grimsby. They currently live in London, Ontario, where they’ve served as Student Writer-in-Residence at Western University and Emerging Artist-in-Residence at the TAP Centre For Creativity. Their story “The Bottom” was shortlisted for The Malahat Review’s 2020 Open Season Awards, and they have recent work forthcoming in American Chordata and Thorn Literary Magazine.
Short fiction · Trade paperback · Editor: Annick MacAskill
Our Bodies & Other Fine Machines
A survival manifesto remixed, revised, and updated, the second edition of Our Bodies & Other Fine Machines again asks us to consider our bodies as pathways to extremities of grief & joy and as sites of resistance, lineage, & testimony. Through the lens of a queer racialized immigrant woman, these poems explore both the tremendous suffering and the radiant possibilities of embodiment. “watch me,” Wee demands, “swallow / the hardest thing / my body has made / & live.”
Natalie Wee (she) is a queer Peranakan community-builder. Her work has won the Blue Mesa Review Summer Contest, been a finalist for the Best of the Net Anthology, been nominated for Pushcart Prizes, and been published in The Rumpus, Asian American Writers' Workshop, Gulf Coast, PRISM International, The Adroit Journal, and elsewhere. Born in Singapore to Malaysian parents, she is currently a settler in Tkaronto (Toronto).
Poetry · Trade paperback · 2nd edition · Editor: Jasmine Gui
Blue and Many Other Colours
An alchemist of close attention, Creighton transmutes frustration and fascination with language's arbitrary structures into a renegade worldview. Cinema, pop hooks, L=A=N=G=U=A=G=E, nursery rhymes, and overheard malapropisms are blocks in her typesetter's case, each lead and gold at once, elements of infinite rearrangement. Collected in tribute to the late poet and visual artist — whose zeal for performance and unbounded experimentation left many of her poems unpublished — Blue and Many Other Colours now forms a touchstone for those who create without asking for permission or forgiveness, without expectation or resolution, with gleeful and ingenious ferocity.
Jane Creighton (1956-2012) (she) was a Toronto-based poet, visual artist, and typesetter. Her lifelong commitment to poetry, begun in her teens, was informed by a multiplicity of viewpoints and influences and centered on one simple yet powerful practice: the innovative rearrangement of words and phrases to produce idiosyncratic sounds and images. A lover of cinema, music, and art, she seamlessly blended popular culture with erudite wordplay. As early as the 1970s, she began engaging with the Language poets, whose experimental works are often sampled in her poems. Like her peers, Jane rallied against traditional poetic structures and delighted in drawing attention to the visual forms of language.
Poetry · Trade paperback · Editor: Andrew James Paterson · Consulting editor: Carol Barbour · Assistant editor: Jacqueline Valencia
green girl dreams Mountains
Appearing in a new edition for the first time in nearly 20 years, green girl dreams Mountains is a book of phases and of overarching vision. These poems are about place & family, belonging & separation, memory & transformation and the long path from shame, where such pairs can feel desperately opposed, to celebration, where loss and love intertwine. With extraordinary precision and sensuality, Dumont traces the powerful ways that landscape and language shape our character, our perceptions, and our futures.
Marilyn Dumont (she) is the author of the widely anthologized A Really Good Brown Girl (winner of the 1997 Gerald Lampert Memorial Award), green girl dreams Mountains (winner of the 2002 Stephan G. Stephansson Award for Poetry), that tongued belonging (winner of two 2007 McNally Robinson Book of the Year awards), and The Pemmican Eaters (winner of the 2016 Stephan G. Stephansson Award for Poetry). She has been faculty and writer-in-residence at the Banff Centre and at universities, colleges, and libraries across Canada. In 2018, she was named a Life Member of the League of Canadian Poets. In 2019, she received a Lieutenant Governor of Alberta Distinguished Artist Award for her work “as a poet articulating the Metis experience, as a mentor and teacher,” and for her “pivotal role in the flowering of Indigenous literature in Alberta and Canada. Marilyn Dumont’s support for a new generation of writers is leading to profound, progressive changes to the writing landscape....”
Poetry · Trade paperback · 2nd edition
Trauma Magic is a sweeping essay collection that celebrates the magic of trauma survivors and unfolds the generative questions trauma allows us to ask. Whether queering time, pain, & substance use, considering Irish fairy faith as a diasporic ecological ethics, or illustrating witchcraft as resistance against sexual violence and academic monopolies on knowing, Morrigan weaves a rigorously theoretical background with a seditious affirmation of embodiment. Trauma and magic are legitimate knowledges, ways of being in the world, and sites of possibility.
Clementine Morrigan (they/she) is a writer living in Tiohtià:ke/Montréal. They are the author of several books and zines including Love Without Emergency, Fucking Magic, Trauma Magic, You Can't Own the Fucking Stars, and The Size of a Bird. You can find her writing in places like GUTS Magazine, Shameless Magazine, Prose & Lore, Somatechnics, and The Canadian Journal of Disability Studies. They are the creator and facilitator of the popular workshop Trauma Informed Polyamory. She writes about queer sexuality, trauma recovery, developing secure attachment, transformative justice, obliterating shame, anarchist spirituality, and the power of desire. They are passionate about nervous system education. More than anything else, her work is for survivors and people who live with trauma.
Nonfiction · Trade paperback · Editor: Tara McGowan-Ross