A gorgeous and stirring collection of photos and poems from photographer Ian McAllister and Governor General’s Award-winning poet Lorna Crozier that reveals how the startling wildness of the natural world is mirrored in the human heart.
A testament to the miraculous beings that share our planet and the places where they live, The Wild in You is a creative collaboration between one of our time’s best nature photographers and one of North America’s most talented and critically acclaimed poets. Inspired by the majestic and savage beauty of McAllister’s photographs, Crozier translates the wild emotion of land and sea into the language of the human heart. Featuring over thirty beautiful full-size photographs of wolves, bears, sea lions, jellyfish, and other wild creatures paired with thirty original poems, The Wild in You challenges the reader to a deeper understanding of the connection between humans, animals, and our earth.
Praise for The Wild in You
“Each poem and photograph in this book honors the patch of Earth we have carved our home in; its squelch of mud, whale song, the berry balanced on a white bear's tongue. Together, Crozier and McAllister crystallize an ecosystem as powerful as the grizzly bear and as fragile as a crane fly’s wing.” —Eliza Robertson, author of Wallflowers
Like the people and animals in her new collection, Lorna Crozier “defies / the anecdotal, / goes for the lyric, / music made from / bone and muscle and the grace notes” of life. The poems in The Wrong Cat are vintage Crozier: sly, sexy, irreverent, and sad, and populated by fully realized characters whose stories take place in a small lyrical space. We learn about a mother’s last breath, the first dog in heaven, a man’s fear that his wife no longer loves him, and the ways in which animals size up the humans around them and find them wanting. With Crozier’s celebrated mix of vibrant imagery, piercing observations, and deeply felt human emotions, these poems provide an affirmation in the midst of the fluid, often challenging nature of experience.
Praise for The Wrong Cat
“Breathtakingly down-to-earth and reassuringly lyrical, new poems by Lorna Crozier are always a reason for rejoicing.” Globe and Mail
Where can you find animal babies? Why, nearly everywhere!
Perfect for babies and toddlers, this adorable board book features a wide variety of baby animals and explores all of the places they live, from bays to burrows and beyond. With colorful, easy-to-turn pages, this book is an essential addition to any little one's library. Upbeat, rhyming text from award-winning poet Lorna Crozier creates a joyful reading experience, and warm, cheerful illustrations are sure to make the book a favorite.
Award-winning poet Lorna Crozier's soothing lullaby delights in kisses for baby from head to toe. Combined with beautiful photographs, Lots of Kisses is the perfect board book for parents and caregivers to snuggle up and read with their oh-so-kissable little ones.
A review of Lots of Kisses
CM Magazine – October 24, 2014
"Using rhythmic words, Crozier encourages parents to cover their babies with kisses...The book is beautiful...Pastel, patterned backgrounds appear behind the text. The book includes children and adults from different racial backgrounds and a variety of ages. The photographs include pictures of just mom (or dad) and baby, a married man and woman with a baby (the wedding ring is obvious), and a woman (with no wedding ring) and a baby...Recommended."
A Globe and Mail top 100 book of 2012
In a series of playful and startling prose meditations, Lorna Crozier brings her rapt attention to the small matter of household objects: everything from doorknobs, washing machines, rakes, and zippers to the kitchen sink.
Operating as a sort of literary detective, she examines the mystery of the everyday, seeking the essence of each object. She offers tantalizing glimpses of the household's inhabitants, too, probing hearts, brains, noses, and navels. Longing, exuberance, and grief colour her reflections, which at times take on the tenor of folktales or parables.
Each of the short portraits in The Book of Marvels stands alone, but the connections are intricate; as in life, each object gains meaning from its juxtaposition with others. Crozier approaches her investigations with a childlike curiosity, an adult bemusement, and an unfailing sense of metaphor and mischief. With both charm and mordant wit, she animates the panoply of wonders to be found everywhere around us and inside us.
The poems in this wide-ranging collection, a modern bestiary and a book of mourning, are both shadowed and illuminated by the passing of time, the small mechanics of the body as it ages, the fine-tuning of what a life becomes when parents and old friends are gone. Brilliantly poised between the mythic and the everyday, the anecdotal and the delicately lyrical, these poems contain the wit, irreverence, and startling imagery for which Crozier is justly celebrated. You’ll find Bach and Dostoevsky, a poem that turns into a dog, a religion founded by cats, and wood rats that dance on shingles. These poems turn over the stones of words and find what lies beneath, reminding us why Lorna Crozier is one of Canada’s most well-read and commanding voices.
About this memoir Ursula Le Guin wrote, “How rare such honesty is, and how hard-won, and radiant, and beautiful.” Guy Vanderhaeghe further commented, “Lorna Crozier has woven the delicate threads of a particular place, time and family into a powerful, big-hearted, poignant, funny, wise and utterly arresting memoir.”
In this definitive selection of poems, which draws on her eight major collections and includes many of the poems for which she is justly celebrated, Crozier’s trademark investigations of family, spirituality, love’s fierce attachments, and bereavement and loss have been given a new framework. As a sapphire generates a blue light from within, The Blue Hour of the Day demonstrates Crozier’s dazzling capacity to bring depths to light, unfailingly and unflinchingly. It represents the best work of an icon of Canadian poetry.
This book is a collection of thirty-five of Crozier's best poems, selected and introduced by Catherine Hunter with an afterword by the poet herself. Representing Crozier’s work from 1980 to 2002, this collection reveals the wide range of her voice in its most lyrical, contemplative, ironic, and witty moments. Hunter’s introduction discusses the poet’s major themes, with particular attention to Crozier’s feminist approach to biblical myth and her fascination with absence and silence as sites for imaginative revision. Crozier’s afterword is a lyrical meditation that provides an inspirational glimpse into the philosophy of a writer who prizes the intensity of awareness that poetry demands, and is tantilized by “what predates speaking” and “all that can't be named.”
Ever lyric and always abounding with breathtaking imagery, this latest of book of poems explores what is universal to the human experience through deeply personal and humane writing. This is poetry that wrestles with memory, questions the spiritual, and bares its love for language. Crozier beholds the earth’s gifts magpies, cows in moonlight, wind, snow and roses with wonder and gratitude, and writes the landscape of emotion with a magical wisdom of the senses.
Bones in their Wings is a groundbreaking work by one of the most original and imaginative poets of our time. In there remarkable poems, Lorna Crozier reveals the power of the ghazal to move the reader with insight and spiritual depth. At once open and daring, the verses take the reader through a series of wonderful leaps: from joy to yearning, from bewilderment to surrender, and finally to gratitude.
In an afterword, Crozier illuminates the pursuit of the ghazal by some of Canada's greatest poets. This succinct and poetic essay, "Dreaming the Ghazal into Being," chronicles the unlikely but startling rise of the ghazal as an important form in Canadian poetry.
In this daring, funny, and highly literate collection of personal essays, all published here for the first time, seven of Canada's best writers explore how desire has shaped them — and how they have shaped desire. Writers: Dionne Brand, Bonnie Burnard, Lorna Crozier, Evelyn Lau, Shani Mootoo, Susan Musgrave, and Carol Shields.
In poems that are rooted in elemental truths of land, light, and the human heart, Lorna Crozier offers us startlingly original and profoundly humane revisionings of familiar Biblical figures and events. The compassion and psychological insight that have made her one of Canada's most beloved poets are here in force, shot through with wit and intelligence, rendered in a lithe, tensile line. This is vintage Crozier: tales of beginning and of ending, sharp, sweet, heretical, and deeply true. The remarkable closing sequence, "Book of Praise," was commissioned for broadcast by the CBC, and aired to public acclaim in the spring of 2000.
In her newest collection, Lorna Crozier describes the passage of time in the way that only she can. Her arresting, edgy poems about aging and grief are surprising and invigorating: a defiant balm. At the same time, she revels in the quirkiness and whimsy of the natural world: the vision of a fly, the naming of an eggplant, and a woman who — not unhappily — finds that cockroaches are drawn to her.
“God draws a life. And then begins to rub it out / with the eraser on his pencil.” Lorna Crozier draws a world in What the Soul Doesn’t Want, and then beckons us in. Crozier’s signature wit and striking imagery are on display as she stretches her wings and reminds us that we haven’t yet seen all that she can do.
“New poems by Lorna Crozier are always a reason for rejoicing.” — Globe and Mail
“a late-career highlight… [Crozier] can speak for the inanimate with whimsy and empathy, knows when and how to conjure sensuality, and can sneak in an emotional payload.” —Quill and Quire
Click here to visit Broadview Press, Freehand website.
While far-reaching in their universal truths, the poems in this collection come together as a compelling narrative. Some follow the lives, from conception to death, of two families: Crozier's own and that of a shadow family, trapped in a darker and unrelenting history. Other poems give advice to the soul, suggest ways to pack for the future, and transport the reader to the spirit world of foxes, "coyote hounds," and the cat who ate Thomas Hardy's heart. Lyrical and tough, humane and wise, these are poems written by a poet who understands the intricate nature of memory and the ways in which we learn to navigate the ephemeral landscape of the present.
A Saving Grace (1996)
Written in 1941, Sinclair Ross's beloved classic As For Me and My House has inspired the imaginations of generations of Canadians. Ross's character Mrs. Bentley remains one of the most complex and controversial figures in Canadian fiction. In this collection, Crozier returns to the mythical town of Horizon, Saskatchewan, during the Dirty Thirties, and, in the voice of a re-imagined Mrs. Bentley, she explores living in that landscape in a time of loneliness, struggle, and drought. Haunting and evocative, this sequence of poems illuminates the emotional and mystical qualities of the grassland prairies, and the presiding spirits of the land, the elements, and the animals that surround.
Here is a community of poems whose words are lit from within, and a home that holds children and adults, the living and the dead. Everything Arrives at the Light is a brilliant gathering of poems with a richly dark seam of terrors, populated with lovers, friends, and relations both difficult and dear. Among its other loves are mimulus, prickly pear, a stallion, "lilacs, literal, and magical," Waskesieu, and carpenter ants in leather aprons. They move with great tenderness through the luminous quotidian, and still deeply respect the shift into myth.
The poems in this book are both playful and provocative, witty and intimate. Central to the collection is a powerful elegy for Crozier's father. Beginning with his death, it moves back in time to the author's childhood in a small Saskatchewan community. Inventing the Hawk reveals the small pleasures of day-to-day life, sometimes visited by "angels" who offer a novel, often shocking perspectives on reality. As well, Crozier translates love and the experience of loss into a language resonant with desire and longing—a language that speaks to the most private rooms of the soul.
This seventh book of poetry reinforces Crozier's stature as one of the most prolific poets of our time. Her poems are witty and assuming, yet intimate and provocative. Through her extraordinary vision, Crozier writes into existence a world that is both distinctively familiar to all her readers. These are poems of mourning and celebration, of poignancy and good humour, and they demonstrate why Lorna Crozier lays claim on both the head and the heart.
Count the crows, my father said,
on the Old Style Pilsner label,
then the rabbits. One, two, three--
I loved the beer smell of his breath
as he whisker-rubbed my cheeks--four!
Oh, you’re the clever one, he said.
There were also Indians, a red jalopy,
a bi-plane with a rabbit in the pilot’s seat,
and a train, grey smudge above its smoke stack.
These days, I ride it to get back, press my cheek
against the glass, watch everything slip by so fast.
Tonight it’s winter, the train’s unheated.
The bottle’s frosted around the lip
as if sipped by moonlight. Up head
I glimpse a man at a station, boarded-up.
He’s small enough to be my father
standing there, swinging a lantern
against the cold, snow falling all around him
so I can barely see. The train won’t stop.
Count the crows, he said, and I count them still.
A book of rare virtuosity, this collection is sensual, pragmatic, linked to women and men, and the lives they inhabit. These poems take us through the poet's Prairies—a vast land that bleaches human and animal bones alike, but one that contains gardens in which people and plants are cultivated, and houses which are places of love-making, warmth, and rage. Crozier's keen ironic tone is balanced by deft romanticism that displays her lyric intuition and versatility.