The Glass Lodge: 20th Anniversary Editionby John Brady McDonaldPublished by Shadowpaw Press RepriseReview by Shelley A. Leedahl$34.99 ISBN 9781998273119 As the name suggests, Shadowpaw Press Reprise is in the business of publishing previously-released books, often with edits and other improvements. The Glass Lodge: 20th Anniversary Edition, a holds-no-punches poetry collection by Saskatchewan writer John Brady McDonald is one such book. First published in 2004 by Kegedonce Press, the Néhiyawak-Métis writer/artist/actor/musician/historian—yes, he has a lot going on—from Muskeg Lake Cree Nation and the Mistawasis Nehiyawak has given the new hardcover edition a spit-shine, with “frank, fascinating insight[s]” into the poems’ angsty geneses, and several images of the initial handwritten pieces. McDonald’s been recognized for both his writing and artwork. His nonfiction book Carrying it Forward: ESSAYS FROM KISTAHPINÂNIHK garnered two Saskatchewan Books Awards in 2024, and his art’s been shown internationally. This multi-talented, Queen’s Platinum Jubilee Medal awardee (Saskatchewan), has had an extraordinarily diverse life, ranging from promiscuity and addiction issues to studying at England’s University of Cambridge and presenting his work in Australia. The book’s told chronologically in four parts—“Emergence,” “Eros,” “Kuskitew Peyesis” and “Renaissance,” and includes a “Denouement.” The poems reach back to McDonald’s difficult teenage years: the first…

Sticks & Bones: Haiku and Senryuby Allison Douglas-TournerPublished by Your Nickel’s Worth PublishingReview by Shelley A. Leedahl$19.95 ISBN 9781778690433 I’m fond of image-based poetry, and it’s one reason I enjoy reading poems written as haiku and senryu. Likely you remember haiku from school days: in its traditional form, it’s a three-line, seventeen-syllable nature-based poem with a five-seven-five syllable count. It conveys a single moment in which the poet suddenly sees or realizes something. An aha! moment, if you will. Senryu is similarly structured, but it’s more concerned with human nature and often contains irony or satire. Both forms originated in Japan, and both are unrhymed. Victoria, BC’s Allison Douglas-Tourner recently released a lovely collection, Sticks & Bones: Haiku and Senryu, which reminded me of why I enjoy these concise forms so much. It’s easy to find inspiration from the natural world on Vancouver Island, and she explains that the island’s “beaches, woods, and meadows” have long been inspiring her. Ravens, those busy gatherers of “sticks and bones,” have also stirred her to write, and the attractive cover image of her small, square-shaped book features a single raven with twigs in its beak. There’s one page-centred poem per page with ample…

The Time for Peace is NowWritten by Marion Mutala, Illustrations by Kate Hodgson, Calligraphy by A. E. MathesonPublished by Millenium MarketingReview by Shelley A. Leedahl$19.99 ISBN 978-1-7390670-5-2 Prolific and award-winning Saskatoon writer Marion Mutala now has twenty titles to her credit—including the acclaimed children’s series Baba’s Babushka, poetry and a cookbook—and, during these globally turbulent times, she’s aptly re-released her 2015 chapbook The Time for Peace is Now. The book’s minimally illustrated (a blue dove with a leafed olive branch appears on the cover and throughout the book) by Kate Hodgson, with lovely calligraphy by A. E. Matheson. Mutala has a history of promoting peace, love and equality in her books, and in the dedication for this small book she considers “World Peace,” and writes: “In the 21st century, society needs to teach children to find ways to solve problems peacefully. I ask myself ‘What am I doing today to promote peace?’” I would say the former longtime educator is doing much more than most with the publication of this title, inspired, she says “by the motto of Hazrat Mirza Nasir Ahmad Khalifatul Masih III: ‘Love of all, hatred for none.’” Each page is a prayer in itself, beginning and…

The Salmon Shanties: A Cascadian Song Cycleby Harold RhenischPublished by University of Regina PressReview by Shelley A. Leedahl$19.95 ISBN 9781779400154 I was excited to read BC poet Harold Rhenisch’s The Salmon Shanties: A Cascadian Song Cycle, as I know him to be a respected writer working in various genres—including fiction, nonfiction and memoir—and his poetry’s been recognized with several awards. The latest of his thirty-three books swims upstream with salmon through Cascadia’s rivers, sings the songs of history as experienced by the English and Chinook Wawa, laments how humans have abused this earth and each other, and praises the natural world and its creatures, from grass to mountains to sky. The poems, scored mostly in couplets, are detail-rich and I recommend reading them slowly to savour the language, names and ideas. It’s also helpful to read them in tandem with the author’s notes on the poems and his extensive glossary of Chinook Wawa—a blended language “of trade and diplomacy … as developed by the wives of traders at Fort Vancouver on the Columbia River” that was commonly used across the Pacific Northwest. In naming these poems shanties (songs), one can rightfully expect that they’re musical. Readers hear grasshoppers “click-clacking in…

Realiaby Michael TrusslerPublished by Radiant PressReview by Shelley A. Leedahl$20.00 ISBN 9781998926039 As a longtime reviewer, I occasionally receive a book that I quickly discern will require disproportionate time and patience to digest. If, for example, I don’t know what the title means—ie: Realia, by award-winning Regina poet and nonfiction writer Michael Trussler—I can expect that Google’s going to be my friend. In a review of Trussler’s The History Forest, I suggested that reading his complex work is “like walking through a forest under the cape of night”. I’m still mostly in the dark with his latest work, Realia, but surmise that this very perplexity is indeed the point. Non-sequiturs, unfinished lines, seemingly random symbols, footnotes, bizarre juxtapositions (“History = milkshake duck”) … colouring outside the lines is this writer’s style, and he’s nothing if not consistent. I needed to take a deeper dive. Trussler’s bio reveals that he’s “neuro-divergent,” and there are references to “phobic anxiety,” “OCD,” and “the psych ward [he] spent a week in downtown”. As I toddled through the pieces—frequently stopping to research names and words—and realized that much of what the poet questions is actually reality, I began to fall under the work’s strange spell…

Get Your Footprints Out of My Gardenby K.J. MossPublished by Wood Dragon BooksReview by Shelley A. Leedahl$19.99 ISBN 9781990863509 Poetry can sometimes be obscure and leave readers feeling that they just don’t “get” the work, and thus, they’re unable to connect with it. No one could accuse Moose Jaw resident Karran Moss, a longtime Registered Massage Therapist and new poet, of writing ambiguous work: the poems in her fifty-piece collection, Get Your Footprints Out Of My Garden, are clear-eyed, plain-spoken and easily understandable. Moss explains in her introduction that at age twelve, during a Grade Seven school trip, she was “trapped in an elevator with a predator.” Further trauma occurred when a “well-meaning group of people” tried “to ‘pray’ the trauma out of [her],” which served only to exacerbate her PTSD: “religion became a trauma trigger,” she writes, and this collection is her “journey of growth and healing.” During therapy, “these poems started flying out of [her] soul.” As she continued working on her diagnosed c-PTSD (Complex Post Traumatic Stress Disorder) with a psychologist, the healing began. The tone and “frenzy” of the poems changed, and her “life started to make sense.” The vulnerable and hopeful meditations are organized into…

The Door at the End of Everythingby Lynda MonahanPublished by Shadowpaw PressReview by Shelley A. Leedahl$19.99 ISBN 9781998273133 The metaphorical title of Lynda Monahan’s fifth poetry collection, The Door at the End of Everything, is lifted from her long, forthright poem of the same name. The piece is set in a mental health facility, and several of these saturnine new poems—particularly those in the book’s middle section, “Saying the Unsayable Things”—are based on the veteran SK writer, editor and workshop facilitator’s experiences as writer-in-residence at the Victoria Hospital in Prince Albert. I’d bet my snow boots that her facilitation of the Canadian Mental Health Association’s Writing For Your Life group, and, much more intimately, personal and familial experience, also inspired these thoughtful poems. As Monahan writes, “there is poetry everywhere,” and bravo to her: she surely finds it. It’s on tattooed wrists that cover scars, the bulimic who “gorges even on [drinking water]”, and in the patient treated with ECT (Electroconvulsive therapy) who says he “returned home/like the dry cleaning/my mind pressed flat/as a pair of black dress pants”. These are plainspoken, powerful poems that speak to truth, hope and resilience, even when a donated coat (“buttons long since missing”)…

What Fills Your House Like Smokeby E. McGregorPublished by Thistledown PressReview by Shelley A. Leedahl$19.95 ISBN 9781771872522 I must admit, the title of E. (Erin) McGregor’s debut poetry collection—What Fills Your House Like Smoke—greatly piqued my interest. I’m partial to similes and metaphors, and McGregor’s title was a poetic hook—what, exactly, does fill this Winnipeg poet’s house with metaphorical smoke? I guessed that butterflies and sweet peas wouldn’t be at the heart of it. McGregor holds a Master of Fine Arts in Creative Writing from the University of British Columbia, and the sheer variety of poetic forms—prose poems; free verse; quatrains; couplets; concrete; and experimental, sound-oriented pieces—in the book is consistent with the range I’ve seen in other first books by creative writing students. What differentiates McGregor’s poetry, however, is its nearly singular focus on the theme of personal identity; often, first books “free range” across themes and subjects. McGregor’s poems weave pain into a story. McGregor is a “Euro-Settler/Métis,” and in her piece “Weeds”—another metaphor—she begins: “Don’t judge me too harshly/for not understanding the small things/that come with your blood”. In that same poem: “[white people] have me by the roots/it’s confusing”. The poet contends with her lineage, and,…

Into the Continentby Emily McGiffinPublished by University of Regina PressReview by Shelley A. Leedahl$19.95 ISBN 9780889779891 I wasn’t sure how to begin Emily McGiffin’s poetry collection, Into the Continent, with its similar but opposite-side-up covers, front and back, and a Page 1 at either end. On one cover, a bayonetted rifle on a creamy background. On the other, a “Big Old Axe” against the same. As I chose a side (the rifle) to start my reading, I hoped I’d find the answer to why the book—praised by Jan Zwicky and Tim Lilburn—was structured thus. What is McGiffin, author of Between Dusk and Night and Of Land, Bones, and Money: Toward a South African Ecopoetics, metaphorically saying with this either way-ness and dramatic images? What I do know is that the University of Regina’s Oksana Poetry & Poetics book series, of which this book’s a part, concerns titles that “[probe] discussions of poetry’s cultural role”. I mined the internet and learned that the author/academic’s work “concerns the interplay of extractivism, empire, and expressive arts,” and she self-describes as “a multidisciplinary environmental humanities scholar researching arts, extraction, and environmental justice”. Currently a Research Fellow at University College London, she’s also studied and…

Back Home: A Poetry Collectionby Jesse A. MurrayPublished by Off the Field PublishingReview by Toby A. Welch  $14.99 ISBN 9781777591304 Poetry. I have a love/hate relationship with it. I want to love it as I value the idea and the beauty of it. The dance of the words on the page and in my mind is melodious. But I usually end up disliking it, getting bored before I get more than a dozen pages into a book of poetry. But that was not a problem with Back Home. I devoured each poem and was bummed out when I turned the last page. Poetry is challenging for me as it can be monotonous. Page after page of six or eight lines, all of them a similar length and tone. That did not happen in Back Home, which I found refreshing. Some poems were in paragraph format, some were just a line or two. Most were somewhere in between with almost all of them coming in at one page or less. The variety, length, and style of Murray’s poems kept things spicy. I tried to pick a favourite poem, but that was impossible to do. Two of the ones I loved best had similar titles…