The Hottest Summer in Recorded History AVAILABLE 978-0-88971-276-8 - Paperback 5.5" x 8" - 96 pages - $18.95 March 2013 By Elizabeth Bachinsky With her signature eye for irony and sensuality, Elizabeth Bachinsky's latest book of poetry, The Hottest Summer in Recorded History, balances a youthful playfulness with observational maturity. Bachinsky strings together seemingly non-sequitur images, capturing in these poems the commonality of raw intimacy, dark humour and a sense of immediacy. Her vision is unapologetically bold, finding the erotic in everyday moments and keenly capturing the complicated truths of life in a powerfully candid style.
	Timely Irreverence AVAILABLE 978-0-88971-277-5 - Paperback 5.5" x 8.5" - 96 pages - $18.95 March 2013 By Jay MillAr Timely Irreverence is a collection of occasional poems that are sewn together through the inescapable intrusion of poetry itself. With circles of logic that provoke thoughtfulness, the paths of these poems are alluringly complex, and they engage through amusing points of casual living, visceral moments when poetry is permitted to intrude upon the everyday. Whether MillAr is letting a poem pass him by while mowing the grass, or etching it upon himself to "make them witness our cliches," Timely Irreverence is filled with the voice of a poet in touch with and opposing his creative spirit.
	Ink on Paper AVAILABLE 978-0-88971-281-2 - Paperback 5.5" x 8" - 96 pages - $18.95 March 2013 By Brad Cran Brad Cran's highly anticipated second book of poetry, Ink on Paper, is a compelling collection of political poems that seek to elucidate our relationships with our surroundings as well as those who surround us. Cran, former Poet Laureate for the City of Vancouver, masterfully constructs images held in contradictory tension, as in his civic poem, "Thirteen Ways of Looking at a Grey Whale and Ending with a Line from Rilke":  And there you were  below the mountains  in the heart of the city  gazing at the grey whale.  You must change your life. Cran's poems are a fresh, provocative examination of urban culture, the natural world and issues of social justice, told with keen awareness and a gritty poetic precision.
	In Antarctica An Amundsen Pilgrimage AVAILABLE 978-0-88971-282-9 - Paperback 6" x 9" - 240 pages - $24.95 April 2013 By Jay Ruzesky Jay Ruzesky recalls a childhood of snow caves, literary ambitions, and a fascination with polar exploration that was ignited by the genes he shares with famed Norwegian explorer Roald Amundsen. As a boy, Ruzesky was captivated by Amundsen's diaries: an Antarctic exploration aboard Belgica when Amundsen was a twenty-five-year-old mate bent on earning his stripes; his historic navigation of the Northwest Passage from 1903 to 1906 where he intentionally froze in with his ship Gjoa over the winters to drift with the pack ice; and his triumph onboard his ship Fram to be the first to reach the South Pole on December 14, 1911. Now a poet and teacher of English at a small university on Vancouver Island, Ruzesky became motivated by the approaching centennial of Amundsen's South Pole accomplishment to pursue his own quest to Antarctica—not only as a following of Amundsen's footsteps, but also a pilgrimage to a near-mythical place where heroes were made and died. He books his voyage aboard a 71-metre ice-strengthened research vessel, Polar Pioneer, bound for Antarctica. Ruzesky skilfully interweaves three stories creatively extrapolated from Amundsen's experiences on both Belgica and Fram, and his own observations leading up to and during his voyage on Polar Pioneer. In the tradition of Bruce Chatwin and with a poet's heart, Ruzesky offers a historically accurate tale while traversing both time and place—paralleling a century of explorers' dreams from Pole to Pole with stops in Canada, Norway, Brazil, Chile, Argentina and Antarctica.
	Selected Poems AVAILABLE 978-0-88971-278-2 - Hardback 6" x 9" - 176 pages - $22.95 April 2013 By Tim Bowling With Selected Poems, Tim Bowling has gathered together his finest poems over a twenty-year period, a selection including work from his widely celebrated debut collection, Low Water Slack, in 1995, to his tenth collection, Tenderman, in 2011. Always a poet of intense emotion and surprising metaphor whose lyric-narrative voice ranges in tone from romantic to humorous to coldly tragic and unrelievedly dark, Bowling's integrity has never wavered, nor has his commitment to celebrating poetic tradition and the land and waterscapes of his cherished West Coast. Selected Poems is unabashedly musical, image-rich and ambitious; poems of the natural world, childhood, family, death, and the pleasures and rigours of art lead into ever-deeper explorations of history, society and middle age, but the faith in the power of language to convey something essential about life remains consistent. This is a book whose pages are viscerally alive with concrete, physical sensations; you can hear the seagulls, smell the wet cedar and brine, and see the sun sink on the great salmon runs with "the clunk of a cue ball." Bowling's particular ability to make his place come alive and to transfer that vitality into a variety of other subjects, from book collecting to beekeeping, has been celebrated throughout his career. Many of the poems gathered here have won significant honours, both in and outside Canada, from the Canada Council for the Arts, the Alberta Foundation for the Arts, the Bridport Prize Foundation in England, and the John Simon Guggenheim Memorial Foundation in the United States. His Selected Poems is a landmark publication in Canadian literature.
	Zeppelin AVAILABLE 978-0-88971-279-9 - Paperback 5.5" x 8" - 96 pages - $18.95 April 2013 By Blaise Moritz In Blaise Moritz's second collection, Zeppelin, we are passengers in the long-range ghost ship that is our new millennial culture. The time before technology recedes in our wake—the past an amazing clutter, if only as deep as early modern things—and looking forward, our impressions phase constantly. We travel far, seeing much that is strange, but it seems more enervating than thrilling, always subordinate to the constant narrative of crisis. In our weariness, we wish to reach apocalypse and post-apocalypse where we might recover some simplicity, but instead are left at loose ends, dwelling on all that has been lost, forgotten, defeated, none of which will even settle down into tragic symbols: at any time anything might be revived as nostalgia or as the improbable font of saving innovation. And yet there is time and experience enough on our journey to arrive at the real once more, to rediscover the terrain, both natural and constructed, and know again that it preceded our maps. Time enough to return to the simplicity that is never lost within us, the redemptive powers of our childhood delight in what might still be a great gleaming ship built from our imaginations and the hope borne in the songs we sing en route.