Annelies Pool lives in a cabin in the woods outside of Yellowknife, Northwest Territories, Canada and likes to sit around, preferably in her pyjamas, and think great thoughts while her husband does all the chores. For example: how can you be spiritual when all you want is a fancy red car? Why are Northerners so possessive about mosquitoes? Why would men rather think about gas fittings than the meaning of life? She's been publishing these thoughts as columns in northern publications for more than twenty years. This collection of columns will touch your heart and make you laugh. Reading them is like sitting down with an old friend over a cup of tea.

iceberg tea

Humor & Entertainment

Pool, Annelies

Humor

Prelude Books

Poetry. "Lindsay Turner's ravishing SONGS &amp; BALLADS takes account of colors, architectures, skies, and the many ways the world is speculatively used and re-used for short-term ends. When to refrain? Refrain now, hold back from harm now, hold on to the world now and now, these elegiac, mysteriously worldy poems sing."--Catherine Wagner "'The sunlight was prettier for its uneven distribution,' observes Lindsay Turner, alerting us to the collectivist imperative subtending perception itself. 'Oh share it, share it.' SONGS &amp; BALLADS re-imagines historical poetics--'what's the ragged quatrain's job?'--as a critique of our unsustainable political economies. Employing recursive forms from the Medieval ballad to Modernism's differential repetitions, Turner's contemporary stanzas in meditation remediate 'a range of arrangements / demanding attention' for the continuous present. Whether it be 'the pentagons of space in the chainlink' or 'what the animals we saw never knew,' we find, in this work, a world on the verge: 'all systems go and some places broken.'"--Srikanth Reddy "Witty, mordant, despairing, yet peculiarly refreshing poems: Lindsay Turner has done the thing few can do--she has made lyric critical; she makes thought sing. 'Tuesday and I want an image / of the ecological condition / these raindrops just aren't normal." These are incantations of and against a seeping duress--with weird skies, ugly offices, bank holidays, ominous weather, bad feelings and wrong life. Her antennae quiver in this mood of disaster, as her poems become a 'keeper of our collective distress.' Songs, ballads, ditties, fractured meditations: these poems offer a countermeasure, a countersong against the modern regime of blighting calculation. With their beguiling and wrong-footing music, these poems keep time and keep our time; they are insistent, seductive, surprising. The ocean, love, a day's measure: are they 'nothing to us'? Are we 'good for nothing'? Keenly intelligent poems of dispossession and divestiture, they crack a smart whip in their ludic and paradoxically soulful deadpan."--Maureen N. McLane

Songs & Ballads

Literature & Fiction

Turner, Lindsay

Poetry

Poetry. "'We are a strange people,' writes Armando Jaramillo Garcia in his much-anticipated debut, THE PORTABLE MAN, whose poems assert their human oddity with rightful confidence and a maestro's finesse. Lucid, loopy, and committed to giving voice to the 'persecuted princes and imperious imps' in all of us, this is a stunning and distinctive collection that pushes back against—and thrives under—the threat of homogeneity and oppression." —Timothy Donnelly "THE PORTABLE MAN moves with a kind of forensic exposure of the inner-makings of the world. Guided by a restlessness that projects the possibility of cosmic intervention, these individual poems collide to create something grander, akin to a weather system." —Paige Taggart "Jaramillo Garcia's THE PORTABLE MAN is a pool of life-substance. When confronted with the mechanics of nature, text can be paramount; to declare scapegoats, to atone acts of ill-will. With lines lush but not overgrown you ask, how many souls to a body? Converts are okay, but beware of the fanatics. Here we are 'at the end of movies / at the end of books / at the end…'" —Eric Amling

The Portable Man

Garcia, Armando Jaramillo

Poetry. "Full of vatic intrigue and exuberance, Catherine Blauvelt's poems demonstrate again and again how lexical intoxication can lead to clarity and wisdom, and, vitally, that a poem is a site of celebration no matter its tragic sources and discoveries. Here is a book for what ails us." —Dean Young "Blauvelt makes it all possible."—Cole Swensen "A high–wire linguistic balancing act that revels in as–yet–unexplored possibilities of language. . . . An entirely singular voice."—Dora Malech "A record of forms of thinking, feeling and hearing which are new to the universe. These poems are brilliant, fast, committed and strange objects which channel an almost unbearable sympathy for almost everything."—Caleb Klaces

Here High Note, High Note

Blauvelt, Catherine

Poetry. Asian &amp; Asian American Studies. "No one has written a finer, stranger, more enjoyably various and intelligent long poem than Jason's Koo's 'No Longer See,' the central poem in his splendid new book, MORE THAN MERE LIGHT. Schuyler and Knausgaard, Proust and Ashbery, to name just a few, meld into a poetic performance that is joyfully bent, and as gloriously funny as it is self-castigating. Underscoring all this is a sorrowing sense of self that can't shake free of time--time as it drags or stops or flies during romance and sex and the passage from domestic happiness to failure, and as it marks off the progress of a poetry and a life coming into its full, vital strength. With a cool-eyed detachment from his own drama, Koo has written a book that is unforgettable in its candor, its disabused self-knowledge, and its generosity of spirit."--Tom Sleigh "This book is about falling, a lot. There are good falls and uncomfortable falls and quiet falls and in-between falls and falling in and out of love with other people and yourself--as Koo aptly writes, 'That was a falling.' Koo is brilliant at mastering the often anxious way we talk to ourselves in our heads, as a way to recall moments and construct memories, justify behavior to oneself, and explore the roles of gender dynamics and sexuality within a world full of distractions in an often strange modern technological landscape. Throughout the collection, Koo is wonderfully narrative, bringing us into the speaker's world, full of jazz and biking and Brooklyn and girlfriends and students and conversations with both an overload of self-consciousness and a lack of it all at the same time ('What's okay, okay?'). The speaker's unabashed ability to be excessive while also having the reader rely on silence, on what isn't told, creates a captivating world for the reader to explore--and most importantly, see themselves fully immersed in as they navigate their own bizarre lives and landscapes. Read it over and over and over again, so you can, as Koo says, drop back 'against the light.'"--Joanna C. Valente

More Than Mere Light

Koo, Jason

Poetry. Art. Illustrated by Mark Fletcher. A children's book for grownups, composed of 104 limericks, modeled on those of Edward Lear. Author Anthony Madrid also wrote a dissertation on the subject of rhyme for the University of Chicago. His two other books of poetry are I AM YOUR SLAVE NOW DO WHAT I SAY(2012) and TRY NEVER (2017), both on Canarium. Illustrations for the limericks (and the covers of all Madrid's books) by the inimitable Mark Fletcher.

There Was an Old Man with a Springbok

Madrid, Anthony

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