He describes We Survived Until We Could Live, his latest collection of poetry as an “attempt to portray a glimpse of war’s horrific aftermath on the family.” In his “attempt to converse with the past,” he believes it is with poetry that he “can document the untold stories of suffering, invite readers into this world, and sharpen their empathy for fellow human beings in pain.”
This collection contains 31 poems arranged in three acts. Miles’s compelling photos—mostly black-and-whites with a few exceptions—appear on facing pages.
I was very intrigued by Vessel, Dani Netherclift’s work on the drowning deaths of her father and brother.
A “Child of War” could not be more timely and necessary, an urgent SOS message in a time capsule coming to warn us about the horrors that inevitably and sadly repeat themselves as history.
Nothing at All, Olivia Tapiero’s collection of vignettes exploring loss, illness, desire, and pain was translated from French by Kit Schluter for this edition.
Bloom opens this collection—her eighth, out now with Brick Books—with “Immeasurable,” a poem about a fleeting connection with a woman on the street
Within a faith tradition that sees only two genders, and from the purview of a small northern community, what can a young person know about themselves and their possibilities?
Whose love story is this? In English, `you’ is many-gendered, can denote singularity, plurality, a finger-pointed other, a reflective self.
As with movies that start gritty and move to hope or start sunlit and move to grim, this book has an arc starting quiet and small and becoming more vivid and joyful as it progresses, as if affirming to live every day.
What Reibetanz uncovers for readers and viewers, who should interpret the poems and the art in a dual fashion, is how the Dutch painters “specialize in what’s unseen” – how they “peel layers of misogynistic myth from [the] domestic scene.”
Their debut poetry collection, Stigmata, illustrates their prowess in queer theory, apophatic theology and poststructuralism that not only examines the tension between sexual deviancy and religion and how these two subject matters can have their own version of the profane,but also their thoughts and trying to make sense of their own being.
Midway is a highly accomplished piece of writing and an enduring testament to the story-making powers of love.
The title of Danielle Deveraux’s book The Chrome Chair comes from a quote the poet heard at the Newfoundland and Labrador Historical Society Symposium in 2003:
“We were promised a seat at the table of nations: what we got was a chrome chair” (5).
Eva Kolacz is no stranger to poetry where sensuality is freely and unashamedly expressed.
From the very first glance, the book captivates readers with its gorgeous, evocative cover, an image that feels like a visual invitation into the vivid and deeply intimate world within.
© 2025| THE Miramichi Reader
