National Network for Equitable Library Service

Craquant sous les papilles, les fruits s’offrent dans leur volupté silencieuse. Souvenirs d’enfance aussi. Parfums de nature. À lire, à déguster, les mots surgissent, brefs, explicites, pour décrire la sensualité que l’auteure perçoit en eux. Métaphores, onirisme… la langue succombe au jeu des saveurs. Il faudra attendre la fin de l’expérience de la lecture pour découvrir l’objet du poème. Sous forme de devinette, sans jamais le nommer, le fruit se dévoile au fil de la lecture. Ce petit recueil s’offre comme un jeu idéal pour vos soirées.

Fragments II est la suite du premier recueil de poèmes Fragments I. Il a pour principale l’écrit, personnifiant la vie intérieure qui vibre en duo. Il se fait l’écho de la voie profonde captant le souffle brut qui quête sa parcelle d’existence. Chemin faisant, il témoigne de l’amour et des sentiment qu’il capte au détour des relations entre les êtres humains. Réflexion ou cri du cœur, il se fait chair. Très jeune, Rosette Pipar affiche un tempérament d’artiste attirée par de multiples disciplines comme le dessin, la danse, l’écriture.

Comme autant de mémoires surgissant de chaque instant, les mots se fragmentent et forment le kaléidoscope de la Vie. Un regard, une émotion, un souvenir ravivent l'impression forte nichée au fond de l'âme attendant l'heure d'imbiber le papier.Derrière moi, les souffrances et les joies, s'entassant dans un coffre sans fond, bouillonnant d'effluves à raconter. Devant moi, la Vie. Nécessité de dire. Urgence d'écrire. Besoin viscéral de redonner vie à tout ce qui m'habite. Regard incessant, capteur de sentiments. Je n'y peux rien. Accepter, une fois pour toutes.

Two black men: the poet, an elder and veteran of last century's civil rights movement; and a nameless youth, swaggering and beltless, seduced by guns-and-gangs and expensive cars, and perpetually targeted by police. They are brothers by the colour of their skin, neighbours in the same “crib,” yet separated by a lifetime of experience. Invoking memories of his personal encounters with leaders like Malcolm X, Stokely Carmichael and Amiri Baraka, the poet berates his heir for dropping the torch, and regrets his own failure to protect, inspire and speak out on the young man's behalf.

In The Fat Man Arpeggios, Pellegrino D'Acierno presents a ludic portrait of the Fat Man -- a metaphysical dandy and “foolosopher” -- who voices, through the lightness of arpeggios, his existential and amorous dilemmas.

From the drunk tank to the graduate seminar, We are no longer the smart kids in class asks what it means to think and be, play and learn, ride bikes and make love in a world of depleting resources, technological proliferation, and corroding ecosystems. A fantasia of academic disillusionment and deflating youth, this collection contemplates moustaches, mountains, and oceans from Halifax to Victoria, always wondering how poetry matters to the heaving, melting, masturbating world it dramatizes.

This powerful, beautiful book blends parables, aphorisms, dreams, fantasies, anecdotes, witticisms, puns, vignettes, and prose poems in a meditative and often passionate way. It takes the risk of being free in its style and form, to affirm the possibilities of thought, spirit, heart, humour, and imagination. Here B.W. Powe gives us his boldest, most soul-revealing work to date.

Joe Fiorito spent 18 hours in total, over the course of three days, on the corner of Victoria and Queen in downtown Toronto watching the city go by and recording what he saw. The rhythms of the city ebb and flow according to the time of day. The declarative sentence is the best brush to paint an objective portrait of the city we live in. It is an example of what happens when you stay put and observe a single place or thing for a very long time.

Although poetry is one of the oldest art forms and cinema one of the youngest, a symbiosis exists between the two -- an interchange of metaphor, rhythm, point-of-view. No surprise, then, that so many contemporary poets write about film and the magnitude of its effect on modern life.

Franz Kafka's writings are characterized by an extreme sensitivity manifested in absurdity, alienation, and gallows humor. These two particular collections of short pieces, A Country Doctor (1919) and A Hunger Artist (1924), newly translated by Thor Polson, represent later works in the corpus. Poems and Songs of Love is a translation of the collection Piyyutim ve-Shirei Yedidot by Georg Mordechai Langer. Published in Prague in 1929, it contains an elegy to Langer's friend and mentor Franz Kafka, and other openly homo-romantic poems.