Brick Books Poetry Map

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

Heather Cadsby was born in Belleville, Ontario and moved to Toronto at a young age.

Heather Cadsby writes, "I live close to Mimico Creek. It's a 33 km watercourse with headwater in Brampton ON and mouth in Lake Ontario at Toronto.

It lies between the Humber River to the east and Etobicoke Creek to the west. Mimico Creek has found its way into seven poems in my book, Could be. One of these is Recursus.

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

It asks how we use words, how we shape them and are in turn shaped by them.

Heather Cadsby was born in Belleville, Ontario and moved to Toronto at a young age.

Her personal background is Irish (Kelso) and French Canadian (Deroche). Three generations of both families are buried in the Belleville cemetery

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

It asks how we use words, how we shape them and are in turn shaped by them.

Heather is a member of the League of Canadian Poets. The head office of the League of Canadian Poets is in Toronto, Ont.

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

It asks how we use words, how we shape them and are in turn shaped by them.

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

It asks how we use words, how we shape them and are in turn shaped by them.

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

It asks how we use words, how we shape them and are in turn shaped by them.

In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art.

It asks how we use words, how we shape them and are in turn shaped by them.

Hanau, Germany - Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Toronto, Ontario Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Toronto, Ontario Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Tahiti, French Polynesia Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Manitou Lake, Saskatchewan Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Flinders Ranges National Park, Australia Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Chengdu, Sichuan, China Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Kampala, Uganda Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Peterborough, Ontario - Water, wood, metal, stone, salt, cotton -- these are some of the everyday talismans that Maureen Hynes encounters on her journey through Harm’s Way.

A soldier’s gold fountain pen,::text like the war itself, lies buried for decades; the corrugated metal and glass shattered across the Australian outback teach her a new way to look at landscape; the silk of an old parachute recalls her first lesson in longing, and even the ribbed cotton of new undershirts sparks a poignant grief.

In this, her remarkably deft second collection of poems, Hynes takes us travelling on a road signposted with the dangers and fears we encounter in the larger world and which intersects with our most private moments and memories.

But Harm’s Way is also a shared journey fueled by a meticulous search for hope, compassion and courage, for "the molecular level of kindness." The intensity of our personal engagement with the world and with others, suggests Hynes, both heightens the journey’s menace and redeems its pain.

Steven Price was born and raised in Colwood, BC. His first collection of poetry, Anatomy of Keys (Brick Books, 2006), won the Gerald Lampert Award and was named a Globe and Mail Book of the Year.

His work has appeared in Canadian and American literary journals. He is one of the poets in Breathing Fire 2: Canada's New Poets, edited by Lorna Crozier and Patrick Lane.

Price graduated from the University of Virginia Writing Program, and currently teaches poetry and writing at the University of Victoria.

Steven Price was born and raised in Colwood, BC. His first collection of poetry, Anatomy of Keys (Brick Books, 2006), won the Gerald Lampert Award and was named a Globe and Mail Book of the Year.

His work has appeared in Canadian and American literary journals. He is one of the poets in Breathing Fire 2: Canada's New Poets, edited by Lorna Crozier and Patrick Lane.

Price graduated from the University of Virginia Writing Program, and currently teaches poetry and writing at the University of Victoria.

Steven Price was born and raised in Colwood, BC. His first collection of poetry, Anatomy of Keys (Brick Books, 2006), won the Gerald Lampert Award and was named a Globe and Mail Book of the Year.

His work has appeared in Canadian and American literary journals. He is one of the poets in Breathing Fire 2: Canada's New Poets, edited by Lorna Crozier and Patrick Lane.

Price graduated from the University of Virginia Writing Program, and currently teaches poetry and writing at the University of Victoria.

Steven Price was born and raised in Colwood, BC. His first collection of poetry, Anatomy of Keys (Brick Books, 2006), won the Gerald Lampert Award and was named a Globe and Mail Book of the Year.

His work has appeared in Canadian and American literary journals. He is one of the poets in Breathing Fire 2: Canada's New Poets, edited by Lorna Crozier and Patrick Lane.

Price graduated from the University of Virginia Writing Program, and currently teaches poetry and writing at the University of Victoria.

Steven Price was born and raised in Colwood, BC. His first collection of poetry, Anatomy of Keys (Brick Books, 2006), won the Gerald Lampert Award and was named a Globe and Mail Book of the Year.

His work has appeared in Canadian and American literary journals. He is one of the poets in Breathing Fire 2: Canada's New Poets, edited by Lorna Crozier and Patrick Lane.

Price graduated from the University of Virginia Writing Program, and currently teaches poetry and writing at the University of Victoria.

Steven Price was born and raised in Colwood, BC. His first collection of poetry, Anatomy of Keys (Brick Books, 2006), won the Gerald Lampert Award and was named a Globe and Mail Book of the Year.

His work has appeared in Canadian and American literary journals. He is one of the poets in Breathing Fire 2: Canada's New Poets, edited by Lorna Crozier and Patrick Lane.

Price graduated from the University of Virginia Writing Program, and currently teaches poetry and writing at the University of Victoria.

Stephanie Bolster writes, “I’ve lived in Montreal for over a decade now, longer than I’ve lived anywhere except my first home, Burnaby . It’s a city in which it is possible to do anything or nothing, to rush or to luxuriate, to savour the refinement of a mille-feuille or the earthiness of a steaming stack of smoked meat.

Although I wish the climate were gentler, I suspect that the city’s cultural vibrancy owes much to the bitter cold of the winters; stuck inside, one can’t not make art, or at least partake of it.

Functionally rather than fluently bilingual, I’ve only begun to experience most of what the city has to offer. Voicing my poems en français for this performance at the Grande Bibliothèque was daunting, yet the opportunity to participate in a bilingual event (albeit in a virtual sense, as the recording was completed two days before I gave birth and the performance held when my second daughter was a few weeks old) was a rare gift.”

Site of the most famous cave paintings, mentioned in "What Art" - Stephanie Bolster writes, “I’ve never been to Lascaux, the French site known for the world’s most famous cave paintings. Nor, were I to go, would I be able to visit those paintings, which are, for the sake of their protection, inaccessible to the public. Were I to go, I would have to content myself with visiting replicas a few hundred metres from the originals.

But even in their inaccessibility, the original paintings have been subject to significant deterioration since their discovery. Which just goes to show that, in the most basic way, looking changes things.”

Acclaimed author of Rest Harrow and The Green Library, Janice Kulyk Keefer brings her passionate intelligence to bear on the beauties and perplexities of these most perennial of human obsessions.

The poems are notable for their alert, musical line as much as for their range and sophistication.

Winner of the 1999 CAA Canadian Authors Association Award for Poetry and shortlisted for the 1999 Pat Lowther Award

Acclaimed author of Rest Harrow and The Green Library, Janice Kulyk Keefer brings her passionate intelligence to bear on the beauties and perplexities of these most perennial of human obsessions.

The poems are notable for their alert, musical line as much as for their range and sophistication.

Winner of the 1999 CAA Canadian Authors Association Award for Poetry and shortlisted for the 1999 Pat Lowther Award

Acclaimed author of Rest Harrow and The Green Library, Janice Kulyk Keefer brings her passionate intelligence to bear on the beauties and perplexities of these most perennial of human obsessions.

The poems are notable for their alert, musical line as much as for their range and sophistication.

Winner of the 1999 CAA Canadian Authors Association Award for Poetry and shortlisted for the 1999 Pat Lowther Award

Acclaimed author of Rest Harrow and The Green Library, Janice Kulyk Keefer brings her passionate intelligence to bear on the beauties and perplexities of these most perennial of human obsessions.

The poems are notable for their alert, musical line as much as for their range and sophistication.

Winner of the 1999 CAA Canadian Authors Association Award for Poetry and shortlisted for the 1999 Pat Lowther Award

Acclaimed author of Rest Harrow and The Green Library, Janice Kulyk Keefer brings her passionate intelligence to bear on the beauties and perplexities of these most perennial of human obsessions.

The poems are notable for their alert, musical line as much as for their range and sophistication.

Winner of the 1999 CAA Canadian Authors Association Award for Poetry and shortlisted for the 1999 Pat Lowther Award

Acclaimed author of Rest Harrow and The Green Library, Janice Kulyk Keefer brings her passionate intelligence to bear on the beauties and perplexities of these most perennial of human obsessions.

The poems are notable for their alert, musical line as much as for their range and sophistication.

Winner of the 1999 CAA Canadian Authors Association Award for Poetry and shortlisted for the 1999 Pat Lowther Award

A review for worn thresholds

This book is absolutely buried to its neck in south western Ontario, surrounded by the rural, interspersed with gullies and madness. Heaven is close by.

"With their capacity to listen intently and to everyone, their seasoned home-grown voice, and their front-and-back porch wisdom, Julie Berry's poems seem effortlessly to set themselves to music. While her work is indeed, "rooted" in place, these are roots that reach and probe; this is place (south-southwestern Ontario) translated into language with its address, its humour and tang, intact. Especially when so much is rendered anonymously global, this is poetry to be cherished." - Don McKay

Julie Berry's first book, worn thresholds, was published by Brick in 1995 and reprinted in 2006. A second collection of poems The Walnut-Cracking Machine has been published by Buschek Books of Ottawa in the fall of 2010. Her poems have appeared in a number of periodicals from Canadian Forum in the late seventies to, most recently, The Literary Review of Canada. Julie's work has appeared in numerous anthologies including Open Wide a Wilderness from Wilfred Laurier University Press (2008). In 2007, she wrote and presented, with the help of Steve Wadhams of CBC, The Poetry of the Woods, an award-winning CBC production of Outfront.

She is presently working as a producer of children's radio programs. Julie lives just outside of St. Thomas, Ontario with her partner, Jonathan, and their dog, Guinness. Her four sons have grown and flown.

P. K. Page has written some of the best poems published in Canada over the last five decades. In addition to winning the Governor General's award for poetry in 1957 she was appointed a Companion of the Order of Canada in 1999.

She is the author of more than a dozen books, including ten volumes of poetry, a novel, selected short stories, three books for children and a memoir entitled Brazilian Journal based on her extended stay in Brazil with her late husband Arthur Irwin who served as the Canadian Ambassador there from 1957 to 1959.

P. K. Page has written some of the best poems published in Canada over the last five decades. In addition to winning the Governor General's award for poetry in 1957 she was appointed a Companion of the Order of Canada in 1999.

She is the author of more than a dozen books, including ten volumes of poetry, a novel, selected short stories, three books for children and a memoir entitled Brazilian Journal based on her extended stay in Brazil with her late husband Arthur Irwin who served as the Canadian Ambassador there from 1957 to 1959.

P. K. Page has written some of the best poems published in Canada over the last five decades. In addition to winning the Governor General's award for poetry in 1957 she was appointed a Companion of the Order of Canada in 1999.

She is the author of more than a dozen books, including ten volumes of poetry, a novel, selected short stories, three books for children and a memoir entitled Brazilian Journal based on her extended stay in Brazil with her late husband Arthur Irwin who served as the Canadian Ambassador there from 1957 to 1959.

P. K. Page has written some of the best poems published in Canada over the last five decades. In addition to winning the Governor General's award for poetry in 1957 she was appointed a Companion of the Order of Canada in 1999.

She is the author of more than a dozen books, including ten volumes of poetry, a novel, selected short stories, three books for children and a memoir entitled Brazilian Journal based on her extended stay in Brazil with her late husband Arthur Irwin who served as the Canadian Ambassador there from 1957 to 1959.

P. K. Page has written some of the best poems published in Canada over the last five decades. In addition to winning the Governor General's award for poetry in 1957 she was appointed a Companion of the Order of Canada in 1999.

She is the author of more than a dozen books, including ten volumes of poetry, a novel, selected short stories, three books for children and a memoir entitled Brazilian Journal based on her extended stay in Brazil with her late husband Arthur Irwin who served as the Canadian Ambassador there from 1957 to 1959.

P. K. Page has written some of the best poems published in Canada over the last five decades. In addition to winning the Governor General's award for poetry in 1957 she was appointed a Companion of the Order of Canada in 1999.

She is the author of more than a dozen books, including ten volumes of poetry, a novel, selected short stories, three books for children and a memoir entitled Brazilian Journal based on her extended stay in Brazil with her late husband Arthur Irwin who served as the Canadian Ambassador there from 1957 to 1959.

Songs for Relinquishing the Earth by Jan Zwicky won the 1999 Governor General's Award for Poetry and was nominated for the BC Book Prize for Poetry and the Pat Lowther Award.

Songs for Relinquishing the Earth by Jan Zwicky won the 1999 Governor General's Award for Poetry and was nominated for the BC Book Prize for Poetry and the Pat Lowther Award.

Songs for Relinquishing the Earth by Jan Zwicky won the 1999 Governor General's Award for Poetry and was nominated for the BC Book Prize for Poetry and the Pat Lowther Award. Songs for Relinquishing the Earth contains many poems of praise and grief for the imperilled earth drawing frequently on Jan Zwicky's experience as a musician and philosopher and on the landscapes of the prairies and rural Ontario.

Songs for Relinquishing the Earth was first published by the author in 1996 as a hand-made book, each copy individually sewn for its reader in response to a request. It appeared between plain covers on recycled stock, with a small photo (of lavender fields) pasted into each copy. The only publicity was word of mouth.

Winner of the 2005 Dorothy Livesay Award for Poetry (BC Book Prizes). Shortlisted for the 2004 Governor General's Award for Poetry, Wisdom and Metaphor by Jan Zwicky was also shortlisted in the non-fiction category of the 2004 Governor General's Literary Awards.

Shortlisted for the 2005 City of Victoria Butler Book Prize, the 2005 Pat Lowther Award and the 2005 Acorn-Plantos Award for People's Poetry. Longlisted for the 2005 ReLit Awards.

Winner of the 2005 Dorothy Livesay Award for Poetry (BC Book Prizes). Shortlisted for the 2004 Governor General's Award for Poetry, Wisdom and Metaphor by Jan Zwicky was also shortlisted in the non-fiction category of the 2004 Governor General's Literary Awards.

Shortlisted for the 2005 City of Victoria Butler Book Prize, the 2005 Pat Lowther Award and the 2005 Acorn-Plantos Award for People's Poetry. Longlisted for the 2005 ReLit Awards.

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

Margaret Avison was born in Ontario. She attended public school in Western Canada, high school and university in Toronto. She spent eight months in Chicago in 1956-57, on a Guggenheim Foundation Grant.

She has worked in libraries, publishing houses, universities, archives, and missions, was writer-in-residence at the University of Western Ontario in 1972-73. In 1985 she was made an Officer of the Order of Canada.

She was awarded three honorary degrees and two Governor General's Awards for Poetry (for Winter Sun and No Time).

In 2003 she was the winner of the Griffin Poetry Prize and the CAA Jack Chalmers Poetry Award and received a Globe 100 citation for her book Concrete and Wild Carrot

The word Sharawadji was first used by Sir William Temple in Upon the Gardens of Epicurus (1685) to describe the effects of the “oriental style” in which “beauty shall be great, and strike the eye, but without any order or disposition of the parts that shall be commonly or easily observed.”

Brian Henderson is the author of ten collections of poetry, the most recent of which, Nerve Language (Pedlar Press, 2007), was a finalist for the Governor General’s Award.

He holds a PhD in Canadian Literature, has worked in many facets of Canadian publishing, and is currently the director of Wilfrid Laurier University Press.

The word Sharawadji was first used by Sir William Temple in Upon the Gardens of Epicurus (1685) to describe the effects of the “oriental style” in which “beauty shall be great, and strike the eye, but without any order or disposition of the parts that shall be commonly or easily observed.”

Brian Henderson is the author of ten collections of poetry, the most recent of which, Nerve Language (Pedlar Press, 2007), was a finalist for the Governor General’s Award.

He holds a PhD in Canadian Literature, has worked in many facets of Canadian publishing, and is currently the director of Wilfrid Laurier University Press.

The word Sharawadji was first used by Sir William Temple in Upon the Gardens of Epicurus (1685) to describe the effects of the “oriental style” in which “beauty shall be great, and strike the eye, but without any order or disposition of the parts that shall be commonly or easily observed.”

Brian Henderson is the author of ten collections of poetry, the most recent of which, Nerve Language (Pedlar Press, 2007), was a finalist for the Governor General’s Award.

He holds a PhD in Canadian Literature, has worked in many facets of Canadian publishing, and is currently the director of Wilfrid Laurier University Press.

The word Sharawadji was first used by Sir William Temple in Upon the Gardens of Epicurus (1685) to describe the effects of the “oriental style” in which “beauty shall be great, and strike the eye, but without any order or disposition of the parts that shall be commonly or easily observed.”

Brian Henderson is the author of ten collections of poetry, the most recent of which, Nerve Language (Pedlar Press, 2007), was a finalist for the Governor General’s Award.

He holds a PhD in Canadian Literature, has worked in many facets of Canadian publishing, and is currently the director of Wilfrid Laurier University Press.

Year Zero is the time of hushed beginnings and endings, the place of naming and unnaming, where language, strange to itself, tiptoes along songlines as though following passages of Koto music.

In Brian Henderson's poetry, poised and listening on this hinge of creativity, ontological wonder is informed by awareness of the paradoxes at the heart of language, that language wants you for itself, and that what is named, falls.

Whether focusing on the dying of a parent or fellow poet, or on the coming-to-be of a child, this poetry is alive with the truth that "The dead burn through us/ the not yet born."

Year Zero is the time of hushed beginnings and endings, the place of naming and unnaming, where language, strange to itself, tiptoes along songlines as though following passages of Koto music.

In Brian Henderson's poetry, poised and listening on this hinge of creativity, ontological wonder is informed by awareness of the paradoxes at the heart of language, that language wants you for itself, and that what is named, falls.

Whether focusing on the dying of a parent or fellow poet, or on the coming-to-be of a child, this poetry is alive with the truth that "The dead burn through us/ the not yet born."

Year Zero is the time of hushed beginnings and endings, the place of naming and unnaming, where language, strange to itself, tiptoes along songlines as though following passages of Koto music.

In Brian Henderson's poetry, poised and listening on this hinge of creativity, ontological wonder is informed by awareness of the paradoxes at the heart of language, that language wants you for itself, and that what is named, falls.

Whether focusing on the dying of a parent or fellow poet, or on the coming-to-be of a child, this poetry is alive with the truth that "The dead burn through us/ the not yet born."

Year Zero is the time of hushed beginnings and endings, the place of naming and unnaming, where language, strange to itself, tiptoes along songlines as though following passages of Koto music.

In Brian Henderson's poetry, poised and listening on this hinge of creativity, ontological wonder is informed by awareness of the paradoxes at the heart of language, that language wants you for itself, and that what is named, falls.

Whether focusing on the dying of a parent or fellow poet, or on the coming-to-be of a child, this poetry is alive with the truth that "The dead burn through us/ the not yet born."

Ann Scowcroft has been a professional writer and editor for many years, and was an academic for a few. She has a PhD in Applied Linguistics and presently works in the field of humanitarian assistance.

Quebec is home base. The Truth of Houses is her first book. At once wise and achingly at a loss, Ann Scowcroft’s The Truth of Houses is an elegant debut collection.

While very intimate—even startlingly intimate at times—the voices of these poems are constantly taking a step backward, wrestling for a measure of distance and perspective.

Ann Scowcroft has been a professional writer and editor for many years, and was an academic for a few. She has a PhD in Applied Linguistics and presently works in the field of humanitarian assistance.

Quebec is home base. The Truth of Houses is her first book. At once wise and achingly at a loss, Ann Scowcroft’s The Truth of Houses is an elegant debut collection.

While very intimate—even startlingly intimate at times—the voices of these poems are constantly taking a step backward, wrestling for a measure of distance and perspective.

Ann Scowcroft has been a professional writer and editor for many years, and was an academic for a few. She has a PhD in Applied Linguistics and presently works in the field of humanitarian assistance.

Quebec is home base. The Truth of Houses is her first book. At once wise and achingly at a loss, Ann Scowcroft’s The Truth of Houses is an elegant debut collection.

While very intimate—even startlingly intimate at times—the voices of these poems are constantly taking a step backward, wrestling for a measure of distance and perspective.

Ann Scowcroft has been a professional writer and editor for many years, and was an academic for a few. She has a PhD in Applied Linguistics and presently works in the field of humanitarian assistance.

Quebec is home base. The Truth of Houses is her first book. At once wise and achingly at a loss, Ann Scowcroft’s The Truth of Houses is an elegant debut collection.

While very intimate—even startlingly intimate at times—the voices of these poems are constantly taking a step backward, wrestling for a measure of distance and perspective.

Ann Scowcroft has been a professional writer and editor for many years, and was an academic for a few. She has a PhD in Applied Linguistics and presently works in the field of humanitarian assistance.

Quebec is home base. The Truth of Houses is her first book. At once wise and achingly at a loss, Ann Scowcroft’s The Truth of Houses is an elegant debut collection.

While very intimate—even startlingly intimate at times—the voices of these poems are constantly taking a step backward, wrestling for a measure of distance and perspective.

Ann Scowcroft has been a professional writer and editor for many years, and was an academic for a few. She has a PhD in Applied Linguistics and presently works in the field of humanitarian assistance.

Quebec is home base. The Truth of Houses is her first book. At once wise and achingly at a loss, Ann Scowcroft’s The Truth of Houses is an elegant debut collection.

While very intimate—even startlingly intimate at times—the voices of these poems are constantly taking a step backward, wrestling for a measure of distance and perspective.