The first word in this new collection by Phil Hall is "raw" and the last word is "blurtip." Between these, many nouns cry faith within a hook-less framework that sings in chorus while undermining such standard forms & tropes as "the memoir," "genealogy" and "the shepherd's calendar."

With Tuft, Kim Minkus takes us on flights of poetic fancy into futures where we "observe the green elite" and "iceplants bloom in the monotony of paved paths." We tangle and climb into language and are swept into the lives of the animals that haunt the shores of our city's waterways. This is a world where worker, lover, animal and poet unite.

Virtualis: Topologies of the Unreal is a poetic investigation of melancholia and the baroque. As a collaborative reading of writers such as Walter Benjamin, Christine Buci-Glucksmann, Giorgio Agamben, Gilles Deleuze, Charles Baudelaire and Arthur Rimbaud, David Dowker and Christine Stewart have created a series of linguistic interjections that run from the allegorical barricades of the baroque to the topological confound of the modern, incorporating (for example) Medusa and the Sphinx, aestivating snails and the alchemy of bees. Lush and extravagant, this is writing tuned in to the terrestrial spectacle.

fur(l) parachute claims as its surrogate the Old English poem “Wulf and Eadwacer.” Declining from a mutant echo of this nineteen-line fragment that appears in the tenth century Exeter manuscript as a text that might be a riddle, or an example of a woman’s lament, or even a broken elegy, the language of fur(l) parachute is further disrupted by such texts as instructions on how to make a parachute lure for fly fishing or the misreading of mathematical knot diagrams. Wryly troubling origins, this poem multiplies its outlawed longing for all that cannot cross.

Paal-Helge Haugen's Meditasjonar over Georges de La Tour (Meditations on Georges de La Tour) was published in Norwegian in 1990, won the Norwegian Critics' Prize, and was a finalist for the Nordic Council's Literature Prize. The book consists of a series of thirty-four poems that emerge from Haugen's long engagement with the work of the French painter.

Five writers have contributed work to Issue 6: Michael Boughn, Tamara Faith Berger, Christopher Higgs, Alan Reed, and Alex Licker.

OUTWITH presents a series of poems about dis- placement, about locations where one becomes "unlocatable," and the imposition of that most indeterminate and yet ever expanding "state" - the state of exception.

I Don't Feel So Good is comprised of material selected from the handwritten journals and notes of Elizabeth Bachinsky (1986-2012). Lines and passages were selected by the roll of a die and appear in the order the die saw fit. In blending confessional and procedural techniques with disjunctive chronology and random chance, this book explores and exacerbates possibilities of the narrative mode both within the text and for the reader. Not so much "written" as "received."

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WINNER OF THE 75th GOVERNOR GENERAL'S LITERARY AWARD FOR POETRY
WINNER OF THE 25th TRILLIUM BOOK PRIZE
WINNER OF AN ALCUIN AWARD FOR DESIGN
SHORTLISTED FOR THE GRIFFIN POETRY PRIZE

These are poems of critical thought that have been influenced by old fiddle tunes. These are essays that are not out to persuade so much as ruminate, invite, accrue.

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WINNER OF THE 75th GOVERNOR GENERAL'S LITERARY AWARD FOR POETRY
WINNER OF THE 25th TRILLIUM BOOK PRIZE
WINNER OF AN ALCUIN AWARD FOR DESIGN
SHORTLISTED FOR THE GRIFFIN POETRY PRIZE

These are poems of critical thought that have been influenced by old fiddle tunes. These are essays that are not out to persuade so much as ruminate, invite, accrue.